Writing Portfolio

Showing posts with label Hilary Mantel. Show all posts
Showing posts with label Hilary Mantel. Show all posts

1.4.20

The coronavirus diary, or things to do at home: re-arranging books and reading them

Looking for something to do, and feeling that it was about time I off-loaded some surplus books (never a shortage of those in our house!), I went through my bookshelves last week and came up with a dozen or so that I read ages ago and have no plans to re-read again, especially given that I still have plenty of unread ones. So, such classics as The Day of the Jackal, Royal Flash and The Wench is Dead went to the communal bookshelf at East Finchley Tube station, for the delight of those essential workers who are still relying on public transport and those who pop into the station during their out-of-the-house daily exercise breaks to pick up a copy of Metro.

I then sorted out my remaining books, looking for the ones that I have acquired over the years but not got around to actually reading (everyone has this problem, right?). Now I have all of my unread books ready to go – this picture merely shows the fictional ones! 


Depending on how long this lockdown business lasts, I might finally get around to reading Lorna Doone and Bleak House – although I’ll probably go for The Shadow of Doctor Syn and at least one of the Agatha Christies before either of those...

I started on my unread books with a point of order – regarding the John Buchan book, The Strange Adventures of Mr Andrew Hawthorn & Other Stories (which I had myself picked up from the communal bookshelf at the Tube station). This recent Penguin Classics Buchan anthology contains 18 of JB’s short stories, eight of which I already have thanks to my owning both volumes of The Best Short Stories of John Buchan so I felt that this one was a bit of a cheat. None of these volumes, by the way, contains the Buchan short story that made it into The Penguin Book of the British Short Story from Daniel Defoe to John Buchan; all I can deduce from that is the obvious observation that JB wrote a lot of well-regarded short stories! My plan here, I decided, was to read through the JB short stories that weren’t in the books that I already own (if that makes sense). I particularly enjoyed the titular one, a very Buchan-esque piece about a man who steps out of his house one morning ... and is neither seen nor heard of for the next five years.

As for The Penguin Book of the British Short Story from Daniel Defoe to John Buchan, this is an anthology covering the British short story from the age of Swift and Defoe to the early twentieth century, with works by 36 authors. I’ve been dipping into it at leisure. Some names are familiar to me, others less so. Having enjoyed some of Rudyard Kipling’s short stories in the past, I made a bee-line for his one, ‘The Village that Voted the Earth was Flat’ (a lively read, and a story that I feel has great contemporary relevance in the age of fake news and concerns over the extent of the influence of the media; worth comparing, I feel, with Buchan’s ‘The Last Crusade’). I then chose an unknown (to me) author at random, and thus found myself enjoying ‘Holiday Group’, the tale of a vicar and his wife taking their young family on a holiday to the seaside by E.M. Delafield.

Then it was an immersion into the murky world of Tudor politics courtesy of Bring Up the Bodies, Hilary Mantel’s sequel to Wolf Hall. At just under 500 pages it’s a long read even though it covers a short time-frame, from September 1535 (the point at which Wolf Hall left off) to the execution of Anne Boleyn the following year. I do like the revisionist portrayal of Thomas Cromwell, particularly how he deals with the ever-fascinating and ever-dangerous Henry VIII; the part where the King is knocked unconscious during a joust and everyone fears that he has died – this at a time when it was considered treason to speculate on what would happen in the event of the King’s death – is a particular highlight. Then there’s Cromwell’s interaction with the courtiers who think that the low-born Master Secretary (the son, as is often mentioned, of a Putney blacksmith) is beneath them, just like they thought the same of Cromwell’s former mentor Cardinal Wolsey whose ghost haunts the life of his protégé. Oh, how they underestimate him! It’s no coincidence when, as Cromwell moves to bring down Anne Boleyn once it becomes clear to him that the King’s now got eyes for Jane Seymour, he makes sure to take down four noblemen who openly mocked Wolsey after his downfall. Heavy going? Yes, for there is much detail here. That it is very well-researched and very well-written I do not dispute, but although I enjoyed parts of Bring Up the Bodies I do feel that, when it comes to intrigue in the reign of Henry VIII, the Shardlake novels are probably more to my taste.

A lighter read, next. Well, physically lighter at any rate, for Rasselas (full title: The History of Rasselas, Prince of Abissinia) by Samuel Johnson comes in at 150 pages and about a fifth of that is the introduction (this being the early Eighties Penguin edition, original retail price £1:60). I am something of an admirer of Samuel Johnson, having volunteered at Dr Johnson’s House in the City (and even visited his birthplace in Lichfield) but I had never previously read this, his only novel which I bought – if memory serves – from the 50p shelf of a second-hand bookshop in Winchester. According to Boswell, Johnson wrote Rasselas in a week in order to pay the costs of his mother’s funeral, although unfortunately some scholars have cast doubt on whether this was actually the case. The story features characters from Ethiopia (formerly known as Abyssinia) which also piqued my interest (since I went there myself on my African odyssey); Johnson himself was not entirely unfamiliar with this country, one of his earlier works being the translation of a book by a Portuguese missionary who’d been there in the seventeenth century. 

The titular Rasselas is a young and idealistic prince, raised in a comfortable-yet-isolated community in the mountains known as the happy valley. He is, for want of a better word, bored with his pampered and carefree existence in the valley and desires to see the wider world and find what it is that makes people happy and contented. So, in the company of his sister Nekayah, her servant Pekuah and a well-travelled poet-philosopher called Imlac who acts as a mentor to the others, Rasselas escapes from the happy valley and travels to Cairo. They meet various people from all levels of society, among them a hermit (who, far from extolling the virtues of a life of solitude as might be expected, decides that he wants to go back to the city), a philosopher who disappoints Rasselas by failing to practice what he preaches (“be not too hasty, said Imlac, to trust, or to admire, the teachers of morality: they discourse like angels, but they live like men”) and an astronomer who, although initially taken to be wise, is in fact mad (“perhaps”, opines Imlac, “no human mind is in its right state”). A visit to the Pyramids goes badly when Pekuah, who hadn’t wanted to join the others by going into the Great Pyramid, gets kidnapped – leading the others to reflect on guilt and loss before she is returned to them. Eventually, in the final chapter (entitled “The conclusion, in which nothing is concluded”), they decide to return to Abissinia after realising the futility of their search; complete happiness is, they have found, elusive.

It would be a mistake to assume that Rasselas is a travel story, though. It’s an examination of the human condition, with particular reference to the pursuit of happiness and the age-old question of whether (so to speak) the grass really is greener on the other side. Somewhat cynical about optimism while also reflecting on mankind’s seemingly infinite capacity for hope, it’s definitely worth reading, and I feel that it’s a book that can be returned to again and again. And there are, of course, some great Johnsonian pearls of wisdom to be had here, among them:

“A man used to vicissitudes is not easily dejected” (ch. XII – yes, he used Roman numerals for the chapters!)

“Of the blessings set before you make your choice, and be content. No man can taste the fruits of autumn while he is delighting is scent with the flowers of the spring: no man can, at the same time, fill his cup from the source and from the mouth of the Nile” (ch. XXIX)

“Our minds, like our bodies, are in continual flux; something is hourly lost, and something acquired … do not suffer life to stagnate; it will grow muddy for want of motion: commit yourself again to the current of the world” (ch. XXXV)

5.3.15

Wolf Hall

Hilary Mantel wrote the excellent Wolf Hall as the first part of a trilogy about the rise and fall of the Tudor-era politician Thomas Cromwell; it and its sequel, Bring up the Bodies, both won the Booker Prize so the pressure is really on for Mantel to deliver a belter for the final instalment which will, if the historical record is anything to go by, portray the downfall of the King’s most faithful servant.

In the meantime, while Mantel has been courting publicity by publishing a short story about murdering Mrs Thatcher, fans of Wolf Hall have been treated to a theatre adaptation (which I didn’t go and see) and now a TV adaptation with Mark Rylance as Cromwell and the brainwashed Marine from Homeland as Henry VIII.

Turning books into TV shows can be a tricky business; with this one, the writers had to take the action from two not particularly short novels (between them, Wolf Hall and Bring up the Bodies top 1000 pages) and condense that into six one-hour episodes (although, this being a BBC drama, an hour really did mean an hour). The result was damned good – a slow-burner of a series that refused to treat the viewer like an imbecile while taking a story we thought we all knew, and retelling it from the perspective of someone who is usually a supporting character.

The son of a blacksmith who rose to become one of the most powerful men in England, Thomas Cromwell’s a fascinating character; in TV dramas about Henry VIII he’s usually portrayed as an unprincipled politician on the make, the man behind the scenes who’s overseeing all those confessions obtained through torture. This is in contrast to the apparently saintly Thomas More (indeed, Cromwell is very much the villain of that classic play-turned-film A Man for All Seasons).

One thing I really like about Wolf Hall is how Mantel did a spectacular piece of revisionism and turned this on its head, with More being shown in a more villainous light than is usual and Cromwell getting the sympathetic treatment. Perhaps a more neutral way of putting it would be to say that the two were contrasting politicians – More was an idealist, whereby Cromwell was a pragmatist (and, as is so often the case, pragmatism won out over idealism). Allowing Cromwell to shine may have upset the historians – David Starkey is not a fan – but it does make for a really good political story (I hesitate to use the word ‘thriller’, what with the ending being widely known), especially at a time when the third series of the American remake of House of Cards has just come out on the Netflix. And especially with a quality actor like Rylance in the lead (when he’s on form like this, I’m prepared to momentarily overlook his support for the ever-odd Shakespeare-didn’t-write-Shakespeare conspiracy theory).

But then, all this debate about Cromwell versus More obscures who the real villain of the piece is – the man who, ultimately, would send both of them to the block. Claire Foy may have stolen the limelight as Anne Boleyn – always the most fascinating of Henry VIII’s wives – in the final episode, but the power was always with the King, portrayed superbly in this series by Damian Lewis (the sinister man-hug at the end was particularly well done and summed things up brilliantly without any need for dialogue). The whole thing played out like the best sort of political thriller, even though everyone (well, everyone who went to school in this country) knows how this story was going to end. Turns out that it’s still possible to make an old story exciting.