Articles & Extracts

Divine Spark

Divine Spark

I first came across Spark when working in a little second-hand bookshop off the Charing Cross Road. A battered tome of her selected works was on sale in the outside pile, desolately stationed there to be picked over by tourists and dampened by rain. Not having much to do (the shop closed a month later, not necessarily because I’d worked there) I started reading one afternoon, and was hooked. For while Muriel Spark makes you laugh out loud, she also makes you think – she must, I feel, have been a formidable dinner-party companion, quietly sitting there with her razor-sharp tongue . . .
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Brush with the Law

Brush with the Law

Encountering Roald Dahl in covetable, tactile Puffin paperbacks as a child in the 1970s, I suspect I was too wrapped up in the tales themselves to give their actual titles much consideration. Curious as I was – and I was a curious child in every sense of the word – I took it on trust that a book called The Magic Finger would simply feature a digit with special powers. And indeed it did. Ditto with oversized fruit and someone called James in James and the Giant Peach. And I recall being mildly disappointed that the factory in Charlie and the Chocolate Factory was not fashioned solely from chocolate. Now that literalism strikes me as peculiarly wonderful. And, in retrospect, it seems completely bound up in my enjoyment as a young boy of what was far and away my favourite Dahl title: Fantastic Mr Fox – a book that continues to colonize my consciousness, if in rather bastardized form.
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Plain Jane? Plain Wrong

Plain Jane? Plain Wrong

There is nothing ‘common-place’ about Pride and Prejudice. It has a tightly woven, seductively intricate plot, which unfolds so delicately that the reader falls blindly into the traps of imperception set by the author, alongside that most perfect of imperfect heroines, Elizabeth Bennet. It has dialogue which sparkles and sings in the most extraordinary way, so that characters come alive in only a few words. It has a hero and heroine who fence and fight and fall in love . . .
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Too Much Clevverness

Too Much Clevverness

Hoban started writing Riddley Walker in 1974 and finished it five years later. It is a masterpiece. Those who know it love it, and whole websites are devoted to it, with chapter-by-chapter annotations deciphering the language, and online chat rooms discussing its themes. In 2005 a Russell Hoban Some-Poasyum (a symposium in Riddleyspeak) was held in London, with readings, quizzes and a pilgrimage to Kent to visit locations in the novel. Every 4 February, Russell Hoban’s birthday, die-hard fans leave typed quotations from his novels in random places for strangers to find.
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Sound Nonsense

Sound Nonsense

The words rolled out, natural and clear, and I listened with new ears and understanding. Enlightenment had finally come. Passages spoken aloud in an Irish accent, by someone who loved the prose enough to commit long passages to memory, released the book’s power. Its beauty had been unlocked not by a literary intellectual, but by a half-tight man in a cheap suit standing at the bar of a Dublin pub. Finnegans Wake was revealed as a work of sound rather than sense, a form of high falutin, Gaelic, literary rap. Ireland talking in her sleep. It was as if Brian had taken me by the elbow, and guided me into this particular tavern to receive a final, Celtic benediction.
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‘Tombs, dear. Where’s your other sock?’

‘Tombs, dear. Where’s your other sock?’

No one told me that the pyramids had been one of the seven wonders of the ancient world, but they were certainly the primal wonder of mine. From early on they exercised an oddly persistent fascination.They could not, it seemed, be taken for granted, like hills and trees and houses. Approached along the pyramid road they got larger and larger and larger until they filled up one half of the sky. It took a long while to ride lurchingly round the Great Pyramid on a camel, and from no angle could their stupendousness be made a thing of nought. They were made of square yellow blocks, exactly like sugar lumps, but higher than I was.
Putting up Useful Shelves

Putting up Useful Shelves

In 1922, Richard Kennedy’s formidable grandmother pulled a well-connected string and got him a scholarship to Marlborough. To say that Kennedy’s education up to this point had been patchy is an understatement. As he describes it in his childhood memoir A Parcel of Time, it consisted of ‘two uneducated women’, his mother and his nurse, failing to teach him to read, followed by a series of pretty dire south-coast prep schools from which he generally absented himself by the simple expedient of taking the bus home . . .

The Temptation of Mrs Harris

It was astonishing to me that a grown-up could cry, and more than astonishing that anyone should cry for joy. The memory came back to me a few weeks ago, as I reread, with my 9-year-old daughter, Paul Gallico’s Flowers for Mrs Harris. For Gallico, most fondly remembered as the author of The Snow Goose, was a master of the bittersweet, of the mysterious kinship between suffering and joy. He knew how to fold together humour and poignant detail in just the right proportions to prevent his prose from curdling into mawkishness and sentimentality.
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A Noble Cause

A Noble Cause

War in Val d’Orcia consists of the diary Iris Origo kept between the end of January 1943 and July 1944. The Origos were based throughout at La Foce, south of Montepulciano in central Italy, though they made occasional excursions to Florence and Rome. She and her Italian husband Antonio had devoted their pre-war lives to reviving the estate, something that could only be done by cooperating with Mussolini and his Fascist bureaucracy; when the Fascists allied themselves with Hitler and Nazism, the Origos keenly adopted the anti-Fascist cause. In what was a remote part of Tuscany they created a remarkable agricultural community, though its close-knit texture would be stretched to the utmost under wartime conditions.
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Avid to Live and Learn

Avid to Live and Learn

I shall always be grateful to A Cab at the Door. I read most of it one Sunday evening in a Victoria line tube train which was stuck for two hours outside King’s Cross station. The train lights dimmed and instead of the Blitz spirit a sullen, twitchy silence set in. I was spectacularly lucky in my companion. The sheer vigour of V. S. Pritchett’s writing and his benign, shrewd storyteller’s voice kept me suspended in his Edwardian boyhood until ‘the juice’, as the panic-stricken driver called it, came back on and we trundled away at last.

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