The Spy Who Came in from the Cold by John le Carré

Last of the John le Carré novels on my list, and quite possibly the last book review posting of 2007. Many thanks for those of you who’ve followed along thus far — I hope to have more interesting books (and other postings) available in 2008!

The Spy Who Came in from the Cold by John le Carré

The story opens on a bleak picture of the state of British intelligence in Germany in the early 1960s, a time of heightened intrigue and conflict between rival security services and the agents who operate in the crevices between East and West. Alec Leamas, former head of British intelligence operations in West Berlin, has seen his entire network of East German agents eliminated in a very short space of time by East Germany’s top spymaster, Hans-Dieter Mundt. Leamas is called home (seemingly in disgrace) to England, and given a new assignment to engineer the downfall of his East Berlin counterpart — the man who had essentially destroyed Leamas’s career. To do so, Leamas must give up his old life and go deep undercover, working his way down in life in a carefully crafted spiral of alcoholism and decline until he can offer himself as a plausible source of information for the East Germans. If he can plant false information that frames Mundt as a British double agent, Mundt will be executed, and Leamas will be allowed to end his working life in espionage and ‘come in from the cold’, or so he hopes. But matters are rarely so simple in the world of Cold War espionage, and Leamas will soon learn that the value of his own life is far more negotiable than he had ever imagined — particularly when the price is being set by his masters at home.

The Spy Who Came in from the Cold is the third book that John le Carré wrote, and many fans of espionage fiction regard it as one of the all-time best espionage novels ever written. Le Carré’s depiction of a down-at-heel, unglamorous, and morally ambigious world of false double agents and planted information was rather revolutionary for its time, not least because it presented Western intelligence services as being no more noble or honourable than their communist counterparts. Some critics initially condemned the novel’s sense of defeatism and its cynical examination of Western values. Yet the very harshness of The Spy Who Came in from the Cold has only contributed to its lasting appeal, where other flashier depictions of high Cold War spy games seem childish or outdated or hopelessly naive from a twenty-first century perspective. The book is a truly fine example of its genre, setting a standard to which other espionage novellists have attempted to aspire ever since it first came out in 1963.

The Tailor of Panama by John le Carré

Picking through the other John le Carré books I’ve read before, I came across this one — one I didn’t care as much for as some of the others I’ve read. I’ve one more John le Carré book in the queue, and that’ll go up over the weekend.

The Tailor of Panama by John le Carré

The title character of The Tailor of Panama is the clever and industrious Harry Pendel, the expatriate British proprietor of Pendel and Braithwaite Ltd (formerly of Savile Row, now of Panama). Pendel counts any number of rich and influential members of Central American society amongst his honoured clients, and his wife works in close contact with a number of the extremely influential individuals who are working to engineer the transition of the Canal from American to Panamanian hands in a few years’ time. But (because this is a le Carré novel) Pendel has any number of secrets he is willing to go to great lengths to conceal from his wife and his family — and the arrival of Andrew Osnard, a man with some unspecified connection to the British Embassy in Panama, threatens to ruin the comfortable life that Pendel has built as tailor to the well connected. So when Osnard asks Pendel to report the idle chatter and gossip he hears from his clientele, Pendel responds with an enthusiasm that is not merely borne of desperation. Indeed, as he begins to embrace his secret life as a collector of information, he becomes increasingly enthusiastic about his work, because sometimes it is easier to start a rumour than merely to report one.

I have never seen the film that was made of this book, but I was interested to see how John le Carré would craft a novel that wasn’t about ‘them wicked Russians’. And I have to say that I think I prefer the wicked Russians, when all is said and done. The substitute for the Soviet Union is a mish-mash of Highly Influential Shadowy Persons, arms dealers and media people and the like, who don’t seem to do much of anything except sit around, drink expensive wine, and conspire for the sake of conspiracy on a level that crosses the border of implausible about two-thirds of the way through the book. Everyone seems to be out to cheat or swindle or sleep with the spouse/girlfriend of everyone else, and the majority of women in the book seem to be nigh incapable of thinking about anything that isn’t in some way related to sex. (That last point is something of a trend that I’ve noticed in most of the le Carré books I’ve read.) Truthfully, that sort of intrigue just isn’t to my taste. The Tailor of Panama was published in 1996, so le Carré also paints a depressing portrait of a Conservative Government on its last legs and a British intelligence service that is so drunk on delusions of post-Cold War grandeur that it swallows Pendel’s fantastic tales whole and begs for more. If nothing else, the book shows that John le Carré is capable of writing espionage thrillers that exist outside the Cold War milieu…and yet making that transition requires an equivalent shift in mentality that isn’t always easy to achieve 100 percent of the time.

A Perfect Spy by John le Carré

Another John le Carré for today’s book review — I’ve one or two more to post, and I’ll have them both up before the end of the week.

A Perfect Spy by John le Carré

Le Carré’s books are as a rule very psychological in tone, exploring the nature of espionage from a deeply personal perspective. The questions he poses his stories are the sort that spies and spy-masters have asked themselves ever since espionage first proved its worth in warfare: what might make someone want to spy? What kinds of espionage would a potential spy be most proficient at? To what extent can a spy conceal his clandestine activities from unfriendly or even friendly eyes? And above all, under what circumstances might a spy be persuaded to spy for the other side? A Perfect Spy takes all of these questions and stuffs them into a storyline that blends history and autobiography in a delicate and complex mix.

The story revolves around Magnus Pym, a high-ranking member of the British diplomatic corps who also happens to be one of the intelligence service’s best field officers. By all appearances, he’s charismatic, well-liked, intelligent and dedicated, a model husband and father and diplomat and field agent. But Magnus has an incredibly convoluted past, full of closed doors and secret file cabinets into which he has compartmentalised his life. And this past has not only made him into a superlative agent for British intelligence, but it also has made him into an incredibly effective double agent for the Czech intelligence service. A Perfect Spy delves deep into that past and how it has played out into the present day…where Pym is on the run from both of his political masters, and preparing for the moment when one or the other of them catches up to him at last.

It’s another massive, brain-bending book from Le Carré, clocking in at nearly 700 pages in my paperback edition and yet uniformly gripping all the way through. So much of the book is told from a quasi-narrative viewpoint, where Pym ‘tells’ his son (or his wife, or his old boss) the details of his childhood and youth in order to explain why he is the man he has become — and while that narrative can be a little hard to follow at times it does help you feel as if you’re fallen right into Pym’s head and are accompanying him on his final journey. Again, as with most of Le Carré’s works, there’s something careful and precise about his writing that gives me the feeling of reading a book written in translation. I must say, though, that this book isn’t a high Cold War book like The Spy Who Came in from the Cold, or even a book about the trials and tribuations of British intelligence as the Smiley trilogy was. It’s a story about a deeply confused man — or rather, a boy whose entire life has been one great big mixed-up complicated game of Let’s Pretend. So if the psychological side of espionage interests you, A Perfect Spy is exactly the sort of book that will let you pick apart an exemplary subject, one Magnus Pym, and come to know him as well as he knows himself. Which is to say, hardly at all.

Tinker, Tailor, Soldier, Spy; The Honourable Schoolboy; and Smiley’s People by John le Carré

I was going to post these three books in separate reviews, but putting them all together feels like a neater package. I have several other John le Carré book reviews in the queue, so I’ll likely be posting them fairly soon.

On a side note — one thing I’ve always noticed when reading John le Carré’s books is that I often feel as if I happened to be reading a book in translation. There’s a certain carefulness to his word choice, a very deliberate precision that I don’t often detect in books that haven’t been translated from another language. I still don’t quite know what to make of that sensation, but it’s one of the reasons why I truly enjoy reading the le Carré canon.

Tinker, Tailor, Soldier, Spy

‘Tinker, tailor, soldier, sailor, rich man, poor man, beggarman, thief….’

Although the title of this book comes from the words of a children’s counting rhyme, John le Carré places these simple words at the heart of a darkly sinister tale of high Cold War espionage. The book opens in an already tense atmosphere, an unsettled time for those who work in and for British Intelligence. The high-profile failure (and subsequent exposure) of an important operation in Czechoslovakia has led to a massive shake-up in the service, and those who have managed to keep their jobs want nothing more than to put the failure behind them. But one of the most senior Intelligence officers, who had lost his place and was forced into ‘early retirement’, believes that there is something far more sinister behind the operation gone wrong. George Smiley, the officer in question, believes that there is a traitor concealed somewhere in the highest levels of the service — a Soviet mole who bears the ultimate responsibility for countless betrayed agents and blown operations. Since he has nothing left to lose, Smiley decides to use all of his old contacts and intelligence tricks to unearth the mole…and in the process, he must confront past mistakes and interrogate old rivals and friends, all the while aware that one of those friends might be the traitor he intends to destroy.

John le Carré’s world is really a classic image of the old-school spy novel: more tame than Ian Fleming, more down-to-earth than Tom Clancy, but gripping nonetheless. He deals in all in shades and variations of grey, from the grey skies of London to the grey buildings in Cambridge Circus (the home base of the British Intelligence network) to the grey areas of morality where his characters always seem to dwell. George Smiley, though fantastically clever, is a rather faded character — as if years and years of working on Her Majesty’s Secret Service had washed all the colour out of him. The story is crafted carefully enough to make the reader second-guess most every first impression of the characters as the tale spins itself out and the story become more intricate. The story has a resolution, not a happy ending, but then again a happy ending would likely feel somewhat out of place in le Carré’s world.

The Honourable Schoolboy

In Tinker, Tailor, Soldier, Spy, George Smiley manages to discover the identity of the Soviet mole who had infiltrated the highest echelons of British intelligence — and also finds out that the man in question had been sleeping with his (Smiley’s, that is) wife. So The Honourable Schoolboy opens onto the essential wreckage of Smiley’s personal and professional life. But Smiley is determined to clear up the mess that has landed in his lap, and so he sets out on the track of his oldest enemy — Karla, his counterpart in Soviet intelligence. His weapon of choice in this round is the Honourable Jerry Westerby, a brilliant but erratic agent who is set on Karla’s trail through Hong Kong and Cambodia against the backdrop of the end of American involvement in Vietnam. By the end of the novel, it might seem as if Smiley and the reader are no closer to Karla than they were before, but the stage is set for the final showdown in the final book of the trilogy.

The Honourable Schoolboy is another of Le Carré’s terrifically convoluted tales of Cold War espionage. The action keeps flashing back and forth from Smiley, stuck in London and trying to hold the fort against the criticisms and attacks from Whitehall and the American ‘cousins’, to Westerby, running all over the Far East and delving deep into the urban jungle of colonial Hong Kong. And whereas Tinker, Tailor, Soldier, Spy introduces the reader to George’s Smiley’s secret world, it’s in The Honourable Schoolboy where the deeper contradictions of that world begin to show. One of Smiley’s colleagues reflects on the strain of intelligence work and how it is clearly beginning to affect his superior’s view of the world:

…one of two things will happen to George. He’ll cease to care, or the paradox will kill him. If he ceases to care, he’ll be half the operator he is. If he doesn’t, that little chest will blow up from the struggle of trying to find the explanation for what we do.

And while in some respects it’s apparent that this book is the second of a planned trilogy, a bit of a stop-gap between Tinker, Tailor, Soldier, Spy and Smiley’s People, it is still a cracking good read in its own right.

Smiley’s People

Smiley’s People was initially published in 1980, and in some ways it definitely reads like a lament for the ‘good old days’ (such as they were) of the Cold War. George Smiley, the hero (or at least the protagonist) of the previous two books, is still bogged down in the bureaucratic war that the intelligence services are always fighting with Whitehall. Most of his old colleagues have faded away, and his purpose is becoming more and more difficult to justify to himself. And when one of his ‘people’, an elderly exile from a country now behind the Iron Curtain, is found murdered in a manner that unmistakeably points in the direction of Moscow Centre and Karla, Smiley must pick up the chase again and track his quarry to ground. In doing so, though, he cannot help but reflect the far simpler and more straightforward past — a past that, like Smiley and his people, is on the point of becoming irrelevant.

The final book of the Smiley trilogy is a good deal bleaker than the first two, which is saying quite a bit for Le Carré’s style of writing and the nature of the story itself. Perhaps it’s the knowledge that this really is the final chase — and Smiley himself is aware that if he succeeds in catching his nemesis, he will only do so by exhausting his own ability to function in the secret world to which he has devoted his life. In his old age, Smiley finds himself questioning the very methods he has to use to track Karla. If he uses Karla’s methods, the same methods he has simultaneously admired and deplored for so long, can he really savour the final victory if and when it comes?

In the conclusion to the Smiley trilogy, Le Carré proves once again that he is a master of classic espionage fiction. His world isn’t flashy and seductive or gung-ho and full of technology. It’s a world that is worn at the edges, tired but serviceable and yet certain to vanish the next time some high-flying civil servant takes it into his head to ‘re-evaluate’ or ‘prioritise’. Le Carré knew it well enough at one point, and in this particular book he gives it something approaching a Viking funeral — dignified, certainly, but not quite so pleasant to watch.

Republic of Readers? The Literary Turn in Political Thought and Analysis by Simon Stow

As any good book reviewer ought to do, I will have to declare a prior interest in the author of the book I am about to review. I took several undergraduate classes in political philosophy from Simon Stow, and consider him to be one of the best professors I had during my undergraduate days. (Somewhere in my files, I still have the notes I took from his classes.) So when I saw that he’d published a book based on his dissertation, I thought it only appropriate to purchase a copy for myself and attempt to write a brief review of it.

Republic of Readers? The Literary Turn in Political Thought and Analysis by Simon Stow

Most anyone who has made a serious study of the techniques of literary criticism will know that a number of long-established critics like to look at books through a decidedly political lens. Marxism, postmoderism, feminism, New Historicism — the list of these and other ‘isms’ is long and still growing, and often confusing for those who would prefer to simply read a book rather than try to look at the book with the help of a theory that is supposed to explain What It All Really Means. Yet in the past half-century or so, this political ‘turn’ in literary theory has been mirrored by a similar literary ‘turn’ in political theory, in which political philosophers examine certain works or styles of literature in an attempt to determine the effects that books and reading can have on the creation of political ideas. Political and social philosophers like Richard Rorty, Martha Nussbaum, Terry Eagleton, and Judith Butler have examined the relationship between books and readers, trying to develop theories that explain the proper or ideal role of literature in political thought.

The literary turn in political theory has produced some rather thought-provoking ideas. Martha Nussbaum, for instance, suggests that books like Charles Dickens’ Hard Times or E.M. Forster’s Maurice can help create a feeling of empathy and understanding for those who have been put at an economic, political, or social disadvantage by the current state of society, raising our political and social consciousness. Richard Rorty claims that reading Vladimir Nabokov’s Lolita and Pale Fire will help readers recognise cruelty when they see it, both in other people and in themselves. (He uses the seductively cruel paedophila of Humbert Humbert as a case in point: if readers of Lolita come to realise that they have started to accept Humbert’s claim that he was seduced by a prepubescent girl, would that sudden self-awareness make the readers more aware of their own capacity for cruelty or their ability to objectivise other people in the way that Humbert objectifies young Dolores Haze?) These and other ideas of the role of literature in political thought — and the thinkers who developed them — are the focus of Republic of Readers? The Literary Turn in Political Thought and Analysis.

Stow’s book looks at the literary turns in the political thought of Nussbaum, Rorty, Eagleton, and Butler, and attempts to identify the common strands in their competing arguments. He devotes a good portion of the book to picking apart the inconsistencies and problems with these arguments — not necessarily to say that these arguments are entirely wrong, but more to show that some of the underlying assumptions in these arguments are very subjective, more often based on how Rorty or Eagleton or Nussbaum or Butler thinks that a particular work of literature should be read than on how a reader might look at the text for the first time. Stow points out this and other problems with the different textual readings and their applications to political thought, and in doing so he attempts to separate — or perhaps even rescue — political philosophy from literary criticism.

One word of caution: It helps to have a good acquaintance with literary and political theory before delving into this book. I myself have only dabbled in the shallows of political philosophy and literary criticism, so a reader who is less than familiar with either the theorists or the texts mentioned would likely find this book somewhat rough going. (Having had the advantage of sitting through the author’s lectures in the past, I was able to follow his arguments better than I think I would have otherwise.) But for students of philosophy and literature who are interested in a review of the literary turn in political thought — one that avoids the shrillness all too frequently found in this discipline’s debate — Republic of Readers? provides a calm and measured study that does quite a bit to heighten readers’ awareness of the role that literature often may play in shaping how we look at the world.

The Seven Basic Plots: How We Tell Stories by Christopher Booker

This book has been defying my attempts to write a review it for the better part of a month and a half — but I think I’ve managed to emerge victorious at last.

The Seven Basic Plots: How We Tell Stories by Christopher Booker

It’s a longstanding cliché that there are only really a handful of basic plots in the entire canon of Western literature. The cliché is so cliché that it’s somehow gone past cliché and come right out the other side in the form of a 700-plus-page analytical study by former Spectator columnist and Private Eye founder Christopher Booker. Booker suggests that storytelling serves to pass along moral lessons and models from the older generation to their children and successors, and as a result the basic lessons have coalesced over time into seven basic symbolic ‘plots’ that have formed the primary model for storytelling into the present day. These seven plots are as follows:

(1) Overcoming the Monster — Stories like Beowulf, ‘Little Red Riding Hood’, Jaws, and many of the James Bond films, where a hero must defeat a monster and restore order to a world that has been threatened by the monster’s presence.
(2) Rags to Riches — These stories feature modest, generally virtuous but downtrodden characters, who achieve a happy ending when their special talents or true beauty is revealed to the world at large. Includes any number of classics such as ‘Cinderella’, David Copperfield, and the Horatio Alger novels.
(3) The Quest — A hero, often accompanied by sidekicks, travels in search of a priceless treasure and fights against evil and overpowering odds, and ends when he gets both the treasure and the girl. The Odyssey is a classic example of this kind of story.
(4) Voyage and Return — Alice in Wonderland, Robinson Crusoe on his desert island, other stories of normal protagonists who are suddenly thrust into strange and alien worlds and must make their way back to normal life once more.
(5) Comedy — Not always synonymous with humour. Instead, the plot of a comedy involves some kind of confusion that must be resolved before the hero and heroine can be united in love. Think of Shakespeare’s comedies, The Marriage of Figaro, the plays of Oscar Wilde and Gilbert and Sullivan, and even War and Peace.
(6) Tragedy — As a rule, the terrible consequences of human overreaching and egotism. The Picture of Dorian Gray, Julius Caesar, Anna Karenina…this category is usually self-evident.
(7) Rebirth — The stories of Ebeneezer Scrooge and Mary Lennox would fall into this basic plot type, which focuses on a threatening shadow that seems nearly victorious until a sequence of fortuitous (or even miraculous) events lead to redemption and rebirth, and the restoration of a happier world.

Within these basic plots are smaller ‘metaplots’ that outline the general structure of these stories. Booker further identifies ‘dark’ versions of these basic plots, ones in which the happy ending is never achieved even though the characters go through all of the stages in the underlying metaplot. There are also a handful of other, smaller plots that are often incorporated into these larger overarching plots, such as the ‘Rebellion’ plot or the ‘Mystery’ plot. Booker looks at both plots and characters, identifying heroes and heroines and the figures who both help them (e.g., the Wise Old Man, the Good Mother, the Companion) and hinder them (e.g., the Dark Rival or Alter-Ego, the Temptress, the Tyrant). If many of these character figures sound like basic story archetypes…well, Booker says, that’s because they are. And he’s dedicated the entire book to determining and explaining how these combinations of plots and characters come together to create some of most well-known (and dare I say, archetypical) stories in the literary canon.

I’ve read quite a few reviews of The Seven Basic Plots, and most of them seem to say some variation on the same theme: The first 300 pages or so are great, but the book goes rapidly downhill from there. These negative reviews touch on the primary trouble with the The Seven Basic Plots. When a particular story does not seem to fit into the established patterns of Booker’s Jungian worldview, his seven basic plots, he immediately declares that the story is irrevocably flawed, defective, or otherwise a perversion of how stories ought to be. As a result, a significant portion of the literature written since about 1800 falls into this flawed or defective category — including stories such as Moby-Dick (because we don’t know whether the real Monster to be overcome in the story is the white whale or Captain Ahab) and Stendhal’s The Red and the Black (because he regards the main character, Julien Sorel, as little more than a portrait of egotistical cruelty and selfish ambition for fame and glory). Not even The Lord of the Rings, one of the stories that Booker points to as the ultimate example of his basic plot archetypes, is free from imperfections: Frodo remains an incomplete character because he never finds the feminine half that he needs to become a whole character. In cruder terms, he doesn’t ‘get the girl’, and therefore can never be complete, so he has to sail away as an incomplete and unresolved main character. Booker also has a disturbing prediliction to blame the author’s background for the flaws of his (or, on very rare occasions, her) stories — usually, in true Jungian fashion, by hinting at unresolved mother issues or sexual identity woes. Very rarely does he attempt to look at the story itself or attempt to understand why the author chose to break away from these archetypes. Without them, the author is flawed and the story is flawed, and as a result there is little room for debate.

It’s really a shame that Booker’s methodology falls apart through his sheer insistence on clinging to Jung. It would’ve been a far more fascinating study to explore why certain stories rebel against or subvert these archetypes, and how this deliberate rebellion or subversion makes these stories all the more powerful for the reader as a result. His writing style is an absolute model of clarity and careful word choice, making The Seven Basic Plots seem far less unwieldy for the general reader than its physical bulk might suggest. In the end, Booker’s magnum opus is certainly worth exploring by those who take an interest in the history of storytelling and in the underlying themes that define so many of our best-loved tales. I’m glad that I read it, in the end.

Lucky Jim by Kingsley Amis

I reviewed David Lodge’s Nice Work a couple of months ago — here’s another campus novel to break up the steady stream of nonfiction.

Lucky Jim by Kingsley Amis

It’s a few years after the end of World War II, and a hapless young man named Jim Dixon has somehow managed to blunder into a job teaching history at a stolid and relatively undistinguished red-brick university. He isn’t particularly interested in what he’s teaching, he isn’t particularly fond of his students, and he regards his fellow staff members (particularly Professor Welch, a senior member of his Department) with something not far short of outright loathing. He doesn’t even have much interest in Margaret, the colourless girl he’s been seeing — especially not after he meets Christine, a very attractive and intelligent woman who unfortunately is the girlfriend of Professor Welch’s smarmy, artsy son Bertrand. Far from being lucky, Jim seems to have the worst luck of anyone, even if he does bring the bad luck on himself more often than not. But when he’s invited to give a public lecture on ‘Merrie England’, he has a chance to secure his teaching job for the forseeable future. The outcome of his lecture might well depend on how lucky — or unlucky — he really is.

Lucky Jim is a campus novel, a story set on a red-brick university campus (as opposed to the ‘varsity novel’ set in Oxford or Cambridge), and it revolves around the lives of the academics and their little turf wars. None of the characters are particularly likeable, though in some ways that’s part of the point of the novel. But even if the satire feels more than a little dated a half-century on — it was first published in 1954 — it is still fairly pointed in its mockery of the classist nature and the pretentious, inbred world of academia. Amis also has an ear for clever turns of phrase, and one of my favourite scenes in the whole book features the best description of waking up with a hangover that I’ve ever read.

As far as the ending goes…well, I won’t spoil it for you completely, save to say that it’s a happy ending. And perhaps it’s just me, but I found the happy ending to be rather unsatisfying. Jim gets his happy ending by chance and through a plot device that slots neatly into a deus ex machina At the least, it seems a little too much like the climax of a rather weak late Victorian novel. By the time I was about halfway through the book, I was generally rooting for Dixon not to get his happy ending. (I’m not entirely sure what that says about me, or about the novel, but it does bear mentioning.) As a classic of academic satire and one of the best-known campus novels, most anyone involved in a love-hate relationship with the academic world will be able to get something worthwhile out of it.

The Discarded Image: An Introduction to Medieval and Renaissance Literature by C.S. Lewis

From a short review to a quite long one, to round out the month of October.

The Discarded Image: An Introduction to Medieval and Renaissance Literature by C.S. Lewis

The Discarded Image was the last book that C.S. Lewis wrote, and in essence it summarises a number of lectures and talks he gave on the subject of Medieval and Renaissance Literature — the subject he taught for the greater part of his lifetime. The ‘image’ in question is a complete and complex picture of history, science, and theology that served as the foundation for literature in the Western world from the turn of the first millennium A.D. up until around the early 1600s. In the space of a little over 200 pages, Lewis picks this intricate and detailed image apart to show the pieces that make up the whole, before putting everything back together again to point out the places where the whole contributed to how authors, historians, philosophers, and religious writers wrote about the various facets of the world they knew.

Explaining the entirety of the book would be tedious and would force me to set aside an interesting and noteworthy point. As with the majority of Lewis’s non-fiction writings, it’s very easy to see how his scholarly research and religious studies influenced the worlds he created — not just Narnia and its inhabitants, but also the planets of the Space Trilogy, the bureaucratic Hell of The Screwtape Letters, and even the twilight town and pre-dawn countryside of The Great Divorce. One quote in particular reminded me of different aspects of the fiction I’ve read:

[in a discussion of how man can have Free Will if God is omniscient]

Strictly speaking, He never foresees; He simply sees. Your ‘future’ is only an area, and only for us a special area, of His infinite Now. He sees (not remembers) your yesterday’s acts because yesterday is still ‘there’ for Him; he sees (not foresees) your tomorrow’s acts because He is already in tomorrow. As a human spectator, by watching my present act, does not at all infringe its freedom, so I am none the less free to act as I choose in the future because God, in that future (His present) watches me acting.

I’m reminded here of Aslan’s comment to Lucy in The Voyage of the ‘Dawn Treader’: ‘I call all times soon’. But something of this is also present in Screwtape’s comments to Wormwood about the restricted ways by which tempters can influence the free will of a ‘patient’, and also (I believe) is hinted at in The Great Divorce when the spirit of George MacDonald is talking to Lewis’s Dantean avatar about choices and decisions. This is only one passage of several that illustrate ideas and thoughts that Lewis drew upon in his world-creation, or so it seemed to me when I was going through the book on my initial read-through.

Far be it from me to attribute all of Lewis’s writings to ideas covered in this particular book. Yet Lewis fans will likely find it a treat, even though it is probably best enjoyed if you have at least read Dante’s Divine Comedy and Chaucer’s Canterbury Tales beforehand. I’ll end this review with a second quote from the book, one which is near the end and which rather nicely sums up the underlying structure of the book’s thesis:

It follows that the book-author unit, basic for modern criticism, must often be abandoned when we are dealing with medieval literature. Some books — if I may use a comparison I have used elsewhere — must be regarded more as we regard those cathedrals where work of many different periods is mixed and produces a total effect, admirable indeed but never foreseen nor intended by any one of the successive builders.

I’m not familiar enough with a wide spread of medieval and Renaissance literature/history/philosophy/religious writings to judge this statement on my knowledge alone. But from what I’ve read and from what others (who are far more knowledgeable about this subject than I am) have told me, Lewis was most definitely an expert in his field and his observations are spot-on.

Wodehouse: A Life by Robert McCrum

I originally picked up a copy of this book as a gift for a friend, and ended up getting one for myself as well — mostly to prevent myself from reading the gift copy. Is ‘one owner/reader from new’ still acceptable as a gift book? I’m never really sure.

Wodehouse: A Life by Robert McCrum

The English writer Pelham Grenville Wodehouse (1881-1975) is probably best known for Jeeves, the inimitable gentleman’s gentleman, and his rather brainless but well-intentioned master Bertie Wooster. But the team of Jeeves and Wooster was only one facet of Wodehouse’s immense literary canon. He also wrote a series of stories centred around the antics of the denizens of Blandings Castle (many of which focus on the Empress of Blandings, a corpulent prize-winning pig), another group of stories about a dashing young City gentleman named Psmith (the ‘p’ is silent, as in ‘pneumonia’ and ‘ptarmigan’), as well as many other separate novels, short stories, and song lyrics — all of which add up to an immense volume of work for any one writer.

Wodehouse had a gift for devising elaborate farcical plots that often seem so complex as to be insoluble, and his prose is pretty much unforgettable to anyone who has dipped into even one or two of his works. And yet it’s incredible to think that Wodehouse never went to university — indeed, he spent the first few years of his working life writing stories late into the night and going to a dull, uninspiring job at the Hong Kong and Shanghai Bank by day. In person, he appears to have been singularly uninteresting, shy and asocial, and was almost incapable of taking any situation sufficiently seriously…or at least, he preferred to make light of difficulties and display a stereotypical sort of ’stiff-upper lip’ personality to the outside world. This last trait eventually caused no end of trouble for him in an episode that is not often remembered today. Wodehouse and his wife were stranded in occupied France during World War II, and while he was a prisoner in an enemy alien internment camp he was invited to make a series of radio broadcasts from Berlin about his life as an internee. Wodehouse’s attitude on the air was genial, almost jocular, and some of his innocent remarks led some members of the press and public to denounce him as a Nazi collaborator and propagandist along the lines of Lord Haw-Haw. After the war’s end, Wodehouse discovered that he was in deep disgrace — and that his public image had been severely damaged by his association with the Nazi propaganda machine.

That backstory aside, Robert McCrum’s biography of Wodehouse is superbly done, a detailed and well-crafted account of a literary life. If I had one reservation to make about the writing style, I would draw attention to the fact that McCrum seems to want to exonerate his subject at the expense of good prose-writing. He over-emphasises Wodehouse’s relative ignorance of international politics — or if not over-emphasises it, then at least is less than subtle in his description of it. Sentences like ‘This was the conversation that would lead inexorably to his disgrace’ feel a bit forced at times. (My instinctive reaction to a sentence like that is, ‘Yes, thank you, Story, now may we continue from where you left off?’) But that is to nitpick at what is otherwise a lovely and well-researched literary biography, definitely recommended to fans of the Wodehouse canon.

The Portable Enlightenment Reader, edited by Isaac Kramnick

I may actually make a post that isn’t a review one of these days, but at the moment I doubt that anyone wants to read my ramblings about the Liberal Democrats’ leadership race. So I’ll set that aside for now in favour of something a little less topical.

The Portable Enlightenment Reader, edited by Isaac Kramnick

The Age of Enlightenment is a name commonly given to the philosophical and intellectual movements in Europe and in the American colonies during the eighteenth (and early seventeenth) century. A list of contributors to the ‘Enlightenment’ would have to include a remarkably diverse group of thinkers and writers who debated any number of philosophical, political, and social topics, many of whom disagreed vehemently with the writings of others. Whether it’s the pamphlets of Thomas Paine or the Encyclopédie of Denis Diderot, Mary Wollstonecraft denouncing Jean-Jacques Rousseau’s opinions on the education of women or Edmund Burke ‘reflecting’ on the French Revolution, Immanuel Kant’s critique of pure reason or the sheer prolific fury of just about anything written by Voltaire, the Enlightenment writers put their emphasis on reason, rational thought, scientific analysis, and the study of natural law in relation to the individual and society. The idea was to move away from irrationality and superstition (which some of these writers, though by no means all of them, attributed in part to the tyranny of organised religions) and towards a more unified framework for how the world operated. This intellectual framework helped form the basis for classical liberalism, democracy, and capitalistic thought — and by extension, formed the philosophical underpinnings of the American and French Revolutions.

The Portable Enlightenment Reader is a set of texts taken from the writings of the Enlightenment’s most notable philosophers, grouped by subject and topic and pulled together into a single volume. The texts chosen for this portable edition are, I’d have to say, a fairly good selection. All of the big names of the time period are there — Locke and Rousseau and Hume take up a decent amount of space, and the selections are usually long enough to provide a taste of the topic without taking up too much room. The idea in a book like this is to give the casual reader a sense of how each of these writers wrote and what they wrote about. For example, if you’ve ever wondered whether Gibbon’s Decline and Fall of the Roman Empire is worth reading, then the selection provided in the Portable Enlightenment Reader may give you a sense of whether you think you’d like to try to tackle his prose.

Not all of the selections are weighty philosophical treatises or explorations of history. There’s a downright smutty snippet from John Cleland’s Fanny Hill, a work of erotic fiction billed as the memoirs of a ‘woman of pleasure’ — indicative of the interest that the Enlightenment writers took in the definition, understanding, and pursuit of pleasure. There are some noteworthy perspectives on the early women’s rights movement, including a short passage written by Thomas Paine that reflects on the unfortunate state of women as he saw it. The tail end of the Enlightenment saw some consideration on the nature of the slave trade and the position of the ‘Negro race’ (as many writers called it) with respect to white Europeans. The book as a whole is meant for dabbling — a means of tempting the appetite, as it were. Now that I know where to start from, the Portable Enlightenment Reader has given me a solid basis for continuing my reading of the works of writers who helped shape Western thought at a crucial moment in Western history.