Man of Straw - Heinrich Mann

 The tricky thing with satire is drawing it out to fill a decent-sized novel.   Heinrich Mann pulls it off with Man of Straw.   Diederich Hessling is the ultimate New Man of turn-of-the-century provincial Germany, obsessed with the Kaiser, with being a Kaiser in his home, work and personal life.   Mann's first achievement is to make Diederich his hero (so many lesser satirists make the object of their dislike a secondary character).   The second is to humanize him.   We see what made Diederich a New Man: his childhood, sickly and frightened of everything; his awkward time at University in Berlin where he ultimately finds his place with the Neo Teutons whom he imagines will take over Germany; his army service, which he loves but which is cut short by ill-health.

In practice it is only Diederich who makes a success of Neo Teutonism.   Other members he encounters in later life are failures, oddballs.   Diedrich returns to Netzig to take over his father's paper factory.   He does the round of the great and good of the town.   Among them is his hero, Herr Buck. a man involved in everything and universally admired.   His is the position Diederich aspires to.   But Buck is a social reformer - a liberal by modern standards - and Diederich a royalist ultra-conservative.   His son, Wolfgang, whom Diederich befriended in Berlin, is ever so slightly decadent.

Diederich's progress is neither easy nor straightfroward.   He calls out Old Buck's son-in-law, Lauer, for derogatory comments about the Kaiser.   This is a criminal offence.   Diederich is the chief witness for the prosecution.   Wolfgang Buck leads the defence.   Diederich panics and tries to wriggle out of the situation.   But he can't.   Mann shows him writhing in the witness box, struggling to find an answer to Wolfgang's cross examination.   And in the pit of despair he finds a crumb of courage and responds.   To his amazement Lauer is convicted and imprisoned.   Deiderich has won.

The business is losing money.   Diederich in his pomp and ambition has overstretched himself.   He tries to cheat his suppliers and finds an unlikely ally in his machinist, the social democrat union man, Napoleon Fischer.   They become partners in fraud and politics.   Diederich joins the town council.    Fishcher ultimately makes it all the way to the Reichstag.

And alongside all this we have Diederich's personal life.   He has let a girl down in Berlin.   He wins the local hieress Guste from Wolfgang by starting a rumour that they are half-brother and sister, which perhaps they are.   He cheats one of his sisters, Magda, of her inheritance, but protects his other sister, Emma, when she is let down.

There are three tremendous episodes of pure farce in Man of Straw which anchor the theme.   The first, at the end of Chapter One, is in 1892 when Diederich is a student in Berlin and comes across a huge crowd of the unemployed protesting in Unter Den Linden.   The Kaiser comes to face them down.   He does not address them, he certainly doesn't give them the bread and work they demand.   He simply appears, on horseback, with his entourage.   He simply shows himself and the protestors are silenced.   Diederich is one of the cheering throng who run after the imperial retinue.   He finds himself in the park, on a bridle path.   He finds himself facing the Kaiser himself.   Diederich falls into a puddle.   The Kaiser laughs.

On honeymoon with Guste in Switzerland, Diederich spots the Kaiser again.   This time he follows him all the way to Rome where he keeps a sort of personal guard outside the Kaiser's hotel.   And finally, after the unveiling of the statue of the first Kaiser, Wilhelm I, in Netzig - Diederich's personal project, which has cost millions to achieve - turns into a total waterlogged disaster, Diedrich turns up at the Buck house and watches from the corridor outside Old Buck's sickroom as his first, fallen hero, the Kaiser of Netzig, dies.

The best and most challenging novel I have read so far in 2024. 

Lions and Shadows - Christopher Isherwood

 Isherwood's autobiography from 1938, written after his return to England from Nazi Germany and alongside his Berlin trilogy that ultimately became Cabaret, comes with a warning:

Because this book is about the problems of a would-be writer, it is also about conduct.   The style is the man.   Because it is about conduct, I have had to dramatize it, or you would not get farther than the first page.   Read it as a novel.   I have used a novelist's licence in describing my incidents and drawing my characters: 'Chalmers,' 'Linsley,' 'Cheuret' and 'Weston' are all caricatures: that is why - quite a part from the fear of hurt feelings - I have given them, and nearly everybody else, fictitious names.

This is slightly and deliberately misleading.   There is very little that seems to be either dramatic or dramatized.   The real identities of most renamed participants are obvious to those in the know (which large numbers would have been in 1938, when the era of the Auden Gang was coming to an end).   'Weston' is Auden, 'Chalmers' is Edward Upward, and 'Stephen Savage', who literally bursts in during the last chapter, is Stephen Spender.   Isherwood uses fake names because these are his friends and might not remain so.   Cecil Day Lewis, for example, a pivotal member of the Auden Gang, is not here at all, nor Louis MacNeice.   Given that Auden was the hub around which the group revolved - everybody except Upward was a separate friend of Auden and met the others only through him - his long journey to China with Isherwood in January 1938, and removal to America, again with Isherwood, a year later, was always going to cause resentment.

Christopher remains Christopher Isherwood.   The books he talks about writing are real books.  The fantasy he made with Upward at Cambridge ('Mortmere') is real.   The extracts of writing by Upward and Auden are all real.   The book ends with the publication of Isherwood's first novel, All the Conspirators, in May 1928 and his departure for Berlin, where Auden was spending the year, in March 1929.

The area in which Isherwood holds back information is the personal.   How well off his family was, far richer than any other member of the Auden circle, is never made clear.   The family itself is rarely mentioned - the loss of his soldier father in the War is not here, even though the theme is Christopher finding and facing 'The Test' which the previous generation of men faced in the War to End All Wars.   The big unmentionable, though, is Isherwood's homosexuality.   Obviously this was illegal in Britain at the time and, in fairness, he finally came to terms with it in Weimar Germany.   It is therefore a subject dealt with in his books about his life in Germany, in the mighty A Single Man (1964) and in the eventual successor to Lions and Shadows, Christopher and His Kind (1976).   Perhaps, then, discounting the role his sexuality must have played in his friendships with these lightly-disguised literary men is the fictional element.

In summary, a fascinating experiment and an enthralling read.

Sunset Swing - Ray Celestin

 Sunset Swing is the closing number of his City Blues Quartet.   It's Christmas 1967.   Ida Young has recently retired, selling her PI business in LA.   Kerry Gaudet, a USAAF nurse, facially scarred by napalm, has flown in from Vietnam to find her missing brother.   Nick Licata, boss of the LA Mob, calls in fixer Dante Sanfelippo to find his missing son.   Louis Armstrong flies in to perform on Steve Allen's Christmas special.

Armstrong and Ida are friends from way back in New Orleans.   Dante and Ida have worked together before.   Ida has retired and Dante is about to, hoping to exchange his wholesale booze business for a vineyard in the Valley, deeds to be signed on December 26 - coincidentally the day Licata Jnr is due to answer bail, otherwise his father is out half a million bucks.   Kerry, of course, only has a few days leave.   So the clock is running from the outset, always a bonus in any thriller.

Meanwhile the Night Slayer is prowling the city.   He might have killed a young woman called Audrey.   Dante doesn't think so, given that she was Riccardo Licata's secretary.   Ida has no interest - until the cops find her name and former office number in Audrey's handwriting.   Slowly, gradually, the threads are drawn together to unpick a massive conspiracy, government agency against government agency, and a horrible truth becomes apparent.   The CIA are using Faron, the legendary killer Ida almost caught in postwar New York in The Mobster's Lament (see review below) twenty years earlier.  Faron is a serial killer but he is not the Night Slayer.   The feds are using him to track down and kill the handful of losers who might be the Night Slayer.   Kerry Guadet's brother Stevie is one of them.

It's complex, maybe slightly far-fetched, though much of conspiracy angle is fact-based; but Ray Celestin has the writing skills to pull it off.   Sunset Swing reads like a breeze (like the Santa Ana which is fanning LA wildfires in the novel), pacy, punchy, noir when its needs to be, and yet always compassionate.   Dante builds a touching relationship with a stray dog he has picked up along the way, Ida with Kerry; and Ida's longtime friendship with Satch has always been a welcome distraction.   Celestin even gives us a musical motif - a tune I don't know by Chet Baker - which ends with a beautiful Christmas twist right before the shooting starts.

The Quartet has plenty of through-lines but unlike so many epics you don't need to read them in order.  I didn't.   Each novel stands alone, has its own themes and developments.   Jump in with the first one you come across - and enjoy.

Fear and Loathing in Fitzrovia - Paul Willetts

 Julian Maclaren-Ross (1912-64) was a gifted but prodigal writer across most genres who could never keep hold of a pound note and who drank himself to an early death in the postwar pubs of northern Soho or, the catchier version, Fitzrovia.   He was close to Dylan Thomas when they worked together for a documentary film company in the later years of WW2.   He knew and drank with Nina Hamnett (see my review of her Laughing Torso), collaborated on a movie script with my favourite forgotten British sci-fi writer Charles Eric Maine, and is remembered chiefly for his posthumously published Memoirs of the Forties (also reviewed here), which is the key text for any student of British arts in the Twentieth Century. 

This, by Paul Willetts, is the only full-length biography.   The research is impressive - the cover is very good - the editing is not.   Whilst it is clear that JML led a peripatetic life and tried to hide his whereabouts from his legion of creditors, there is far too much made of his ever-changing address and, in the final chapters, when either Willetts or his editors were running out of vigilance, it is way too often accompanied by terms like 'about November' which is a nonsensical phrase, easily improved.   As it is, it hits like a cracked church bell striking midnight - over and over and over in the final chapters.   I would also suggest there are insufficient examples of our hero's writing to justify the claims made for his talent (which I agree with, by the way, having read his Memoirs more than once).

So, could have been better, but nevertheless Fear and Loathing in Fitzrovia is worth having and well worth reading.   A genuine window into a vanished world.

W H Auden - Richard Hoggart

 I find Longman's Writers and their Work series absolutely invaluable: authoritative criticism given in brief, with an overall assessment built up from focused scrutiny of the major works.   Richard Hoggart is just about as authoritative as they come: tutor, lecturer and professor at Hull, Leicester and Birmingham, three cities very important to me.   His first book was a study of Auden in 1951 and that led to this distillation and update of his thinking in 1957 (though he revised it a further three times).   

I have hitherto found Auden off-putting, but my own researches have shown how significant he was considered when his first volume came out in 1931.   He founded a movement which was not really a movement, more a circle with him at the centre, some key like-minded friends who were not necessarily friends of each other, and a whole bunch of imitators.   Auden changed, understandably, after he moved to America immediately before the war, and the subsequent work is not my particular interest at the moment.   Nevertheless Hoggart's account of it had me gripped.

The Templar, the Queen and her Lover - Michael Jecks

 Blimey, turns out it's twelve and a half years since I read Jecks and his Sir Baldwin series.  The last one I read, in the earliest days of this blog, King's Gold, post-dates this one, which is set in 1325, primarily in France, where Sir Baldwin and his friend Bailiff Simon Puttock, are part of Queen Isabella's security as she tries to negotiate a treaty with her brother, King Charles IV.

The stumbling block is that Charles and Isabella have not been on the best of terms since Isabella told her father Philip IV that the wives of Charles and another brother were promiscuous adulteresses, carrying on their debauches in the infamous Tour de Nesle.   Both wives were put away.   Charles's wife Blanche is still alive in 1325, a prisoner in the squalid Chateau Galliard, the marriage long since annulled.   Charles is about to marry for the third time, a child bride who is also his first cousin.

Isabella has been likewise sidelined in England, because her husband has replaced Piers Gaveston with a new and more demanding lover, Hugh le Despenser.   Despenser wants the mission to France to fail and Isabella to be discredited.   Edward II's former friend and general, Roger Mortimer, is living in Parisian exile.   He is actually not yet the Queen's lover.

As a former Templar, Baldwin himself is in danger in France, Philip IV being the king who destroyed the Temple and burned the leading Templars.   Baldwin wasn't in France at the time but still has a price on his head.   Meanwhile people in the retinue are dying: Enguerrand, Comte de Foix, is killed after an argument with Baldwin; his squire, Robert de Chatillon, is attacked and later murdered; an old soldier associated with Foix and Robert is killed in the first attack.   Before any of this, the garrison at Chateau Galliard, the prison-keepers of the woman who would have been queen, has been wiped out, Blanche herself having disappeared.  The garrison, moreover, comprised men hired by Robert de Chatillon on the orders of Comte Enguerrand.

The mystery is tantalizing and complex.   The book, however, is too long and its structure too fractured.   It would have been better to focus only on what Baldwin and Simon know, experience, or discover.  It was enjoyable enough but, being so splintered, lacked grip.

Quichotte - Salman Rushdie

 It's the breadth of imagination which hooks us in, the depth of thought and compassion that enthrals.  Salman Rushdie may just be the greatest living novelist in English.  Rushdie, however, lives in America, as do both of the heroes in Quichotte.   I say both because Quichotte (pronounced key-shott) is a double picaresque, blending the journeys of the ageing seller of opioids in his quest for the affections of former Bollywood star, now US talk-show host, Miss Salma R, and his creator, the pseudonymous author 'Sam DuChamp' who is trying to put his family back together before he dies.   Both protagonists were born in India and live in America.   'Sam' has a sister who is a British peer, Quichotte has a half-sister who lives in America; both have survived breast cancer.   Sam has an estranged son who has become embroiled with US Security Agencies.   Quichotte conjures up an imaginary son, whom he names (of course) Sancho.

Before we know it, Sancho (like Pinocchio), has become a real boy.   So real that other people can see and speak with him.   Because Quichotte's picaresque also includes Magic Realism.   One of the towns they pass through is being terrorists by mastodons - technically humans turned into rampaging mastodons, some of whom still walk upright and wear green suits.   It is all brilliantly done, all enthused with empathy and a profound humanity.

Quichotte may not be as celebrated as Midnight's Children nor as controversial as Satanic Verses.   It is nonetheless a mini masterpiece, a triumphant autumnal work brimming with life even as its protagonists consciously face death. 

The Centauri Device - M John Harrison

Suddenly everyone wants Captain John Truck, which is odd, given that nobody has ever wanted him before.   General Alice Gaw of the Israeli army wants him, as does her opposite number with the Arab socialists, and Dr Grishkin, and even Chalice Veronica host of the longest running party in the universe.  Hitherto John Truck and his ship My Ella Speed has had to make do ferrying second rate cargo around the lesser spaceports at the ass-end of the Galaxy.   Now, people are kidnapping him off the street, recusing him and snatching him for their own nefarious purposes.

The thing is, the Opener archeologist Grishkin has found the legendary Centauri Device on Centauri VII, the only planet to have been murdered.   Nobody knows what the Device will do.  The Israelis and the Arabs assume it's a super-weapon that will decide their endless Earth-shattering war.  Grishkin dreams it is a religious revelation, possibly apocalyptic.   Chalice envisages the high of all highs, or at least trading it for a megaload of drugs.   The one thing upon which all agree is that only a Centaurian can operate the Device.   Which is a problem, given the race has been all but exterminated.   Truck is the all-but in question.   His prostitute mother Spaceport Annie coupled with one of the last Centauri and space John is the result.

It's a hell of a take on the Grail Quest - an off-kilter, typically Harrison take - complete with Fisher King 9the aesthetic anarchist Pater) and a Merlin of sorts (Pater's son, the conjurer Himation.   Guinevere has a scarred face and Truck is an unlikely Lancelot.   But he gets there in the end.   He conjoins with the Device and---

I simply cannot get enough of M John Harrison.   This is the third of his novels I've read this year and I want more.   He is so different, so unique.   Nobody does it like him.   Nobody does what he does better.

Engine Summer - John Crowley

 Engine Summer (1979) is a post-apocalyptic coming of age story.   A millennium or more in the future, Rush That Speaks grows up in Little Belaire, a town of truthful speakers.   The Storm has knocked humankind back into the stone age.   They have no writing or literature but pass on history as stories.   Here and there relics and ruins of former glories linger on, regarded as the work of angels and thus unfathomable.   Saints wander the land, spreading insights and speaking of other settlements elsewhere.   Rush That Speaks dreams of becoming a saint when he grows up.

But first he must deal with adolescence and his love for Once a Day, a neighbour belonging to a different cord but taught by the same teacher, Painted Red.   One day members of Dr Boot's List visit Little Belaire, as they do every year, to trade.   Once a Day decides to travel with them, and leaves.   Rush cannot fathom this.   Why would anyone want to leave Little Belaire?   Why would Once a Day leave him?   He expects her to return.   Everyone does.   But she doesn't return.   Finally, he feels he has no choice but to track her down and rescue her.

People have no transport, but believe that Road leads everywhere.   Rush gets distracted by a hermit called Blink, who lives up a tree and hibernates.   Rush had heard Blink called a saint, though Blink flatfly denies any such thing.   Ultimately Rush finds Once a Day in Service City.   The List have different skills and practices.   They lives with large cats and emulate the feline lifestyle.   Once a Day doesn't want to leave so Rush decides to stay with her.   He is assimilated into the List.   Finally, he is taken to meet Dr Boots, and learns his destiny, a revelation that sends him reeling, half-mad.   Visions, hallucinations, insights - until it is revealed who he is telling his story to.

From the very first page it is clear that Rush is speaking to someone other than us.   Every now and then someone asks italicized questions.   There is mention of crystals which seem to be recording what Rush says (recording? we wonder, in a world without machines?).   There are four crystals and each facet is a chapter.   The answer, when it comes, is quite something.

It is a boy speaking, so the style is straightforward and provides a framework in which we learn alongside Rush how to navigate his world.   The half-remembered names of things from Before the Storm is a fun device.   The title for example, try saying it aloud.   Avvenging and avengers took me longer to figure out.   Dr  Boots is best of all.   Rush's tortured pubesence is of course timeless, instantly familiar.   The characters are nicely defined, the locations differentiated.

All in all, an intriguing classic of the post-apocalypse.

The Mobster's Lament - Ray Celestin

 Book Three of the City Blues Quartet, the setting is New York, late 1947.   The mobster in question is Gabriel Levenson, manager of the Copacabana nightspot and fixer of choice for Frank Costello, the boss of all bosses in New York.   Gabriel has been on the take for some time, syphoning off cash to fund his escape from New York.   He has good reason for corruption: he is sole career for his young niece since his sister's suicide and wants to be able to give her a good, mob-free future.   There is also his own skin to be considered.   Swindling Frank Costello is bad enough - but Gabriel's business partner at the Saratoga racetrack is Albert Anastasia, of Murder Inc.   Gabriel has two weeks before his accounts will be presented to both business partners and the deficit will become clear.

Meanwhile, Costello has a job for Gabriel.   The late Benny Seigel, founder of the nightclub scene in Vegas, seems to have raised two million from various senior gangsters to bail out the floundering Flamingo, but the money never made it to his account.   Costello wants Gabriel to find the money.   Gabriel is also keen to find the money, given it's just about the same amount he has syphoned off.   Substitute one for the other and ... who knows?

Gabriel asks around.   Apparently Benny was talking about a jazz type called Gene Cleveland.

Meanwhile there has been an awful killing in a flophouse in Harlem.   A black guy, a white guy and the female deputy manager.   Even the famously corrupt NYPD have no trouble finding a culprit.  He was standing over the bodies clutching a bloody cleaver when they arrived.   He is a young black doctor with a drug habit, called Tom Talbot.   He is now on Riker's Island, being pressed to do a deal by his attorney.

Tom's father Michael is not convinced of his son's guilt.   Michael Talbot is a retired gent from Chicago.  He is also a former cops and former Pinkerton's agent.   He has come to New York to save his son.  He is joined there by his former protegee Ida Parker, a recently widowed private detective with a bureau all her own, who has been head-hunted for a secret but lucrative new job in LA.   But first...     Michael and Ida investigate the crime scene which turns out to have been the room of a black guy now missing.   A jazz type called Gene Cleveland.

That is a basic summary of the beginnings of just one of the plotlines.   There are several others.   Celestin's debut novel was the first of the Quartet yet he has marshalled his storylines with masterly technique.   There are dozens of characters, not all of whom are around for long, yet we never lose track or become confused.   Information is given us piecemeal across 500+ pages, so that the denouement, when it comes, makes perfect sense.   The denouement also happens to be a shootout in the dead of night of the frozen Hudson River, which is prettty damn impressive.

Celestin is great.   I shall be reading more.