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2010
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Top scarers

From Jim Thompson to Daphne du Maurier, the author and comedian singles out stories that live up to their genre and genuinely do give readers sleepless nights

As well as making becoming a household name for his work as a writer and actor in comedy shows such as The Fast Show, Charlie Higson has had a parallel and these days just as stellar career as a writer. After winning acclaim for early, blackly comic crime novels including his debut King of the Ants (1992) and Getting Rid of Mister Kitchen (1996), he moved on to writing for children in 2005 with the Young Bond series. These books have now sold more than 1m copies in the UK alone, and have been translated into 24 different languages.

The Enemy, published last year, marked a new departure for Higson into horror writing for teenagers, with a tale of teenagers defending themselves against a zombified adult world. The first in a series, it was this week shortlisted for the Booktrust teenage prize, with volume two, The Dead, due out next week.

Buy The Dead by Charlie Higson at the Guardian bookshop

“What constitutes a horror book? A black and red cover? A primary objective to scare the shit out of the reader? A plug from Stephen King on the back? Most of the books on my list would probably be categorised in other genres first, but then – is Alien a sci-fi film or a horror film, or both? Is Wuthering Heights a ghost story? Is Jane Eyre the mother of all psycho-in-the-attic stories? And Daphne du Maurier’s Rebecca is in many ways a haunted house story. I might well have put it in here if I’d ever actually read it.

“You can have a lot of fun mixing genres up. Personally I’m not the world’s biggest fan of pure horror novels – ghosts and demons and man-eating slugs leave me slightly unmoved. With no belief in the supernatural, supernatural stories usually have little effect on me. Of the big horror names only Stephen King, with his concentration on character, really works for me. I’ve enjoyed other horror writers but wouldn’t put them in any top 10 lists. HP Lovecraft, for instance, is fun but his books aren’t exactly scary. I’m not going to lose any sleep over the possibility of Cthulhu and the ancient gods crossing over into our domain.

“And there are other glaring omissions from my list. Why no Dracula or Frankenstein or Edgar Allan Poe I hear you cry. It’s sacrilege to leave them out of a horror list, I know. But Poe only really wrote a couple of scary horror stories (The Tell Tale Heart is brilliant) and I find Dracula and Frankenstein rather heavy going and 19th century. Of course they’re where it all began as far as the undead are concerned and must be read, I’m just not sure that they still have the power to frighten us. And, let’s face it, that’s what a horror book should do.

“I’ve always been interested in the mechanics of frightening people. I like the idea of disturbing my readers, giving them sleepless nights and stamping images in their imaginations that will stay there for a very long time. That way they will always remember your book, and after all, us novelists are like Dracula, all we want is immortality. The first two of my adult novels (King Of The Ants and Happy Now) could easily be categorised as horror books and my new series for younger readers, The Enemy, is most definitely horror as it concerns kids vs adult zombies, but it is also an action adventure series, which seems to be my default mode. I’m always open to suggestions, though, so if anyone wants to champion some pure horror books that I absolutely must read, then fire away. I’m all severed ears.”

1. The Watcher by Charles Maclean (out of print but Amazon and Abebooks have copies)

An extraordinary book, unlike anything else I’ve ever read, which had a big effect on me when I first read it. The narrator, Martin Gregory, starts out by telling us that he was perfectly normal and happy and that there was no reason for the terrible thing he has done … The sense of impending horror is enormous, and the book, like the narrator, soon spirals into madness. We have to try and work out what is really going on as we see everything through Gregory’s distorted perspective. One thing we can be sure of, though, is that everyone around him is in very great danger.

2. The Shining by Stephen King

You can’t have a horror list without having Stephen King in there somewhere. It’s the law. But the thing is, when he was at his peak his books were brilliant (he hasn’t quite been able to sustain it – you can’t help but start repeating yourself if you write as many books as he has). Engrossing, tragic and, yes, frightening, which you can’t always say about horror books. He’s a great writer and for me the greatest horror writer. If you’ve only seen the film of The Shining then read the book – it’s better (first half of the film amazing, second a bit silly).

3. The Drive-In by Joe R Lansdale

The Drive In, by Texan titan Joe R Lansdale is a great, knowingly trashy nod to the 50s and 60s craze for teen drive-in schlock sci-fi/horror flicks. A bunch of kids at an all-night horror showing at their local drive-in get mysteriously trapped there by some malign force and begin to behave like ants under a glass. Surviving on junk food and fizzy drinks they go crazy and set up a savage and weird alterative society full of great characters like the Popcorn King. Book Two spins off into yet wilder shores.

4. I Am Legend by Richard Matheson

A hugely influential horror book, written in 1957. The last human survivor in a Californian suburb ventures forth every day with a supply of stakes to try and wipe out the vampires that have taken over. Matheson was great at mixing horror and science fiction, and rooting the fantastical in everyday reality. This book is a brilliant study in loneliness and obsession, and when the story twists towards the end Matheson very cleverly makes us question all that has gone before.

5. The Killer Inside Me by Jim Thompson

There has been a lot of fuss recently about the film of this book. But the book – which is every bit as extreme and upsetting as the film – has been around since as long ago as 1952. Amazing how you can get away with so much more in books without people really noticing. “Oh, it’s a book, it must be good for you.” Well, this book is certainly not good for you. I remember reading it and thinking – should I be reading this, should anyone read this? It is a horrific trip inside the mind of a cold-blooded psychopathic sadist, who is nevertheless good company and at times unnervingly funny. Not in a flip, post-Tarantino way; this is very disturbing and upsetting stuff. There is never any question as to where Thompson stands – the narrator is a monster. We watch his destructive relations unfold and discover the reasons for his condition from the reading equivalent of “behind the sofa”. Unlike a lot of modern writers who go into this area in a sort of gleefully voyeuristic adolescent way that is entirely fake (stand up Brett Easton Ellis). Jim Thompson lived the life. He understood these people and fought many demons of his own. He is my favourite author by a long chalk, and this is an extraordinary book, but it’s also certainly one of the most extreme (and extremely upsetting) things I’ve ever read.

6. Pan Books Of Horror

If any horror collections can be described as seminal it is these. When I was a teenager they were everywhere. Passed around from hand to hand, they had a forbidden, naughty allure, like video nasties. With their classy but trashy covers the stories they contained were gory, nasty, sometimes sexy, often badly written, sometimes brilliant. The collections were a mix of old classics and more modern material, increasingly the latter as the supply of classics ran dry. You’d find Stephen King alongside Algernon Blackwood and some blood-soaked fillers from writers you’d never heard of before and never hear would again. A superfan is currently working with Pan to get the series relaunched, starting with a facsimile reprint of volume one later in the year. Look out for it. And check out his website.

7. Uncle Montague’s Tales Of Terror by Chris Priestley

This one’s for the kids. Written in an accessible, cod Victorian style it has a neat framing device. Edgar goes to stay with his uncle in the woods who proceeds to tell him a series of terrifying stories – all the while hinting at some dark secrets of his own. Rest assured, the stories, which all feature a child in some way, are genuinely scary and unsettling and really do get under your skin. They certainly frightened my 10-year-old when I read them to him.

8. The Silence Of The Lambs by Thomas Harris

Is this crime or horror? It certainly has a classic horror set up – basically it’s Beauty And The Beast. A naïve and innocent, yet ultimately resilient, young girl enters the monster’s lair and he falls in love with her. Then together they sort put each other’s problems. The secondary villain – Buffalo Bill - is certainly a monster from a horror story, making clothes out if his victims’ skin and keeping his latest victim in a pit. The film played like a horror film, and Anthony Hopkins certainly seemed to think he was in one. The book, as usual, is even better than the film. It’s weird and engrossing and seductive and scary with some nice gothic touches. A great, great read.

9. Ghost stories by MR James

Apologies to Bram Stoker, Mary Shelley and Edgar Allen Poe, but of the old classics I’ve gone for James. And not really for the original stories but just so I can bang on about Jonathan Miller’s extraordinary BBC film of “Whistle And I’ll Come To You”. MR James was the king of the unsettling ghost story where not very much happens and it’s all about atmosphere and dread. Miller’s film still has the power to be very, very disturbing. Give yourself a treat and buy it. There are other James BBC adaptations you should look out for as well (A Warning to the Curious is another favourite), they used to show them at Christmas in the good old days, and all still work.

10. Don’t Look Now/The Birds by Daphne du Maurier

All right, I’ll admit it, I’m cheating a bit here. I don’t think these 2 stories actually appear together in a Du Maurier collection except on audiobook. And like MR James, my interest in du Maurier is primarily in the films made of her stories (nearly all of her output was filmed – she was the Stephen King of her day). I couldn’t leave her out because to have come up with the story for not one but two all-time classic horror films is a feat to be applauded. And as Don’t Look Now is my favourite horror film I had to get a mention of it in here somewhere. The original stories are still good reads and its fascinating to see how two great directors teased complete films out of them.

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Call off the hounds: the Not the Booker prize vote stands

After polling disarray to rival the coming of the ConDems, the collective has opted to stick with the original shortlist. Time to actually do some reading!

Well, that was bracing! Calling our own voting system and the legitimacy of our competition into question was always going to be risky. And, as many have you have pointed out, selecting a second list was, on the whole, an unsatisfactory suggestion. Not least because (as some of the better counters among you realised) it was pretty clumsily compiled.

All the same, I actually found the whole process quite energising. I am, as beaten boxers like to say, happy to take positives. One of the intentions of the Not The Booker prize has always been to foster discussion about the legitimacy of various forms of literary competition and we’ve certainly had that. It was fascinating. Plenty of eloquent and strong arguments were made on both sides. I personally feel like I’ve emerged wiser as well as older. Hopefully, we’ve also been able to clear the air about what may be called tactfully “the social media question”. The argument that would inevitably have emerged in later rounds has taken place – in spades – and now we can get back to books.

Or, we almost can, after a quick breakdown of the voting.

Totals:

“List one” (the shortlist that gained the most votes in the first round of voting): 114
“List two” (the shortlist we put together of books that seemed to be doing well without social media input): 48
Confused people turned still wondering how to vote for The Cuckoo Boy, Deloume Road and The Canal: more than 10
Alternative lists: about seven
Abandon the whole thing: four or five
Abandon me: three or four
Abandon everything and hide in the darkweb: one

(There were also a number of commentators quite legitimately asking why Stewart Home’s Blood Rites Of The Bourgeousie was left off the longlist, to whom I can only say: sorry. I made a simple mistake and didn’t spot it. Hopefully mentioning here how interesting it looks will go some way towards making amends.)

What all that means is that we now have an official, beyond-dispute shortlist, which is as follows (alphabetically by author):

The Cuckoo Boy by Grant Gillespie
Pictures of Lily by Matthew Yorke
Deloume Road by Matthew Hooton
The Canal by Lee Rourke
Advice for Strays by Justine Kilkerr

That’s listed in order of votes received. It’s going to be very interesting to see if we end up changing that around in later rounds. In the meantime, I’m going to be reading through the books in alphabetical order, by author’s surname. That means The Cuckoo Boy by Grant Gillespie is first up. I can’t wait to see what it’s like.

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Booker prize shortlist drops early frontrunners

Christos Tsiolkas and David Mitchell, both much-tipped when they appeared on the award longlist, have been overlooked in the six finalists

Listen to Claire Armitstead and Sarah Crown discuss the Booker shortlist on a special edition of the Guardian Books Podcast

It headed the most controversial Man Booker prize longlist in years, but Christos Tsiolkas’s The Slap has failed to make the final cut for the literary award, as has David Mitchell’s much-tipped fifth novel, The Thousand Autumns of Jacob de Zoet.

Judges overlooked Australian novelist Tsiolkas’s tale of the consequences when a child is slapped at a suburban barbecue – which is either “unbelievably misogynistic” or “riveting from beginning to end”, depending on who’s asked – and Mitchell, twice shortlisted for the prize in the past, to select a shortlist which ranges from two-time former winner Peter Carey’s Parrot and Olivier in America to Emma Donoghue. The Irish writer has also stirred up debate with her Josel Fritzl-inspired Room, the story of a boy and his mother imprisoned in a tiny room for years.

Orange prize winner Andrea Levy’s The Long Song, about the last years of slavery in Jamaica; Howard Jacobson’s The Finkler Question, a cerebral comedy about grief and Anglo-Jewishness; experimental novelist Tom McCarthy’s C, which tells the story of Serge Carrefax, a first world war radio operator who escapes from a German prison camp; and South African writer Damon Galgut’s tale of a young man travelling through Greece, India and Africa, In a Strange Room, complete the six-strong shortlist for the £50,000 prize, announced this morning.

“It’s been a great privilege and an exciting challenge for us to reduce our longlist of 13 to this shortlist of six outstandingly good novels,” said chair of judges Andrew Motion, the former poet laureate. “In doing so, we feel sure we’ve chosen books which demonstrate a rich variety of styles and themes – while in every case providing deep individual pleasures.”

The panel of judges had previously read 138 books to select the 13 titles for their longlist, with Martin Amis’s new novel The Pregnant Widow and Ian McEwan’s venture into comic fiction Solar both overlooked and Carey the only previous Booker winner on the longlist.

His inclusion on the shortlist today for Parrot and Olivier in America, a reimagining of Democracy in America author Alexis de Tocqueville’s visit to the New World, gives him the chance of becoming the first ever writer to win the Booker three times, having previously taken it in 1988 for Oscar and Lucinda and 2001 for True History of the Kelly Gang.

“The omission of both David Mitchell and Christos Tsiolkas from the shortlist is a real shock. While both writers might rightly feel aggrieved at being overlooked, I imagine it took some wrangling amongst the judges to reduce one of the best longlists in years to six,” said Jonathan Ruppin at independent book chain Foyles, who, while praising all six books for their “lightness of touch which means the reader doesn’t get bogged down in something worthy or dull”, predicted that Room was the most likely title to go on to win the award.

Waterstone’s tipped C to take the prize, with fiction buying manager Simon Burke calling it “a challenging yet dazzling novel”. “The news that David Mitchell has not made the shortlist will cause great wailing and gnashing of teeth across the bookworld, but perhaps is a useful reminder of the independence and unpredictability of the Booker,” he said. “But this is still a hugely varied and exciting list, worthy of the Booker brand. Carey and Levy have to be strong contenders, but our money is on Tom McCarthy. The more people that read [C] the better.”

The bookies agreed, with William Hill immediately installing McCarthy as 2/1 favourite to win the prize. “There has been a considerable media buzz around all of the books on the shortlist, and literary punters have staked more money in total on Tom McCarthy to win than any of the other authors, so he is a worthy favourite,” said spokesman Graham Sharpe. Donoghue and Galgut came in second at the bookmaker, both at 3/1, with one customer so sure that In A Strange Room would win that they placed £400 on Galgut at 7/1, the largest single bet on the prize “for a few years”, said Sharpe.

Carey came in fourth, at 5/1, with Levy at 7/1 and Jacobson the 8/1 outside to take the prize.

The opinion-splitting novels picked for this year’s longlist have helped make it the most popular since 2001, with Tsiolkas’s novel selling the most copies, followed by Donoghue’s. The winner, who will join a roster of former winners including Margaret Atwood, Roddy Doyle and JM Coetzee, will be announced on 12 October. Last year’s winner Wolf Hall by Hilary Mantel is the fastest-selling Booker winner ever, with sales of around half-a-million copies to date.

The Man Booker shortlist in full:

Peter Carey’s Parrot and Olivier in America

Emma Donoghue’s Room

Damon Galgut’s In a Strange Room

Howard Jacobson’s The Finkler Question

Andrea Levy’s The Long Song

Tom McCarthy’s C

To buy all six Booker shortlisted titles for only £65 (save £37.94) with free UK p&p visit the Guardian Bookshop or call 0330 333 6846.

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Extract: The Whales by Evie Wyld

Evie Wyld, whose debut novel After the Fire, a Still Small Voice won the 2009 John Llewellyn Rhys prize, has written a short story, The Whales, exclusively for Booktrust, where she is currently writer-in-residence. Here we join Jimmy, Elaine, Terry and Yvonne, deep in the bush after five days of walking. The conclusion will appear on the Booktrust website tomorrow

There are four of them footslogging single file along the trail. They sweat and wave their sticks at the flies, spitting the salt off their lips and feeling the rub of their backpacks, hot on their shoulders. A storm bird knows about them from miles off and lets out a wop-wop-wop, getting higher and louder as it goes. Jimmy watches Elaine look up at the gum-treed sky. He follows her gaze. No, he thinks. The bird is wrong; overhead is blue without a wash of cloud.

The crack of dry bark, the whistle of whip birds and sometimes a thundering in the undergrowth – a wombat, a pademelon – it all makes Jimmy feel younger. He can feel the muscles in his thighs working, can feel them thank him for not being stood at the assembly line six hours a day.

Five days of walking and now they are deep in the bush. In another day, they’ll turn east, head for the sea, where if they make good time, they’ll see the humpbacks heading south towards the Antarctic, their new calves in tow. There’ll be a party that night, between the four of them. Terry the young bow-legged one from further down the line with a touch of the idiot about him, Yvonne his frizz-plaited, heavy cousin who runs accounts and her friend Elaine who is nothing to do with the factory and who returns his glances, smiling. Not a bad lot really, especially the girls.

Three days down the coast and they’ll arrive home about ready for that soft bed and the meal without char-grit from the campfire, or the dog food pong of tinned meat. It’s been good so far. He thinks of what was waiting for him if he hadn’t gone bush this week – all those monkey-wrenches wanting to be set. It’s been time to move on for a while, he sees that now. Only he’ll wait and see what comes of Elaine and the damp hair that ringlets at the back of her neck.

Later in the day he spots a bower bird’s chapel. Even this far in, the bird has found a blue toothbrush and bits of turquoise plastic to frame its humpy. He takes a photo, so that the side of Elaine’s brown leg slides up the view finder.

‘They only collect blue stuff’, he says, mainly to Elaine. He feels the roots of his fingers strain as he reigns himself in, his stiff hands reminding him not to overdo it. Steady on.

Chances are, Elaine already knows more than him about bower birds – she told him she’s walked the bush for six years, since she left varsity, this last two with Yvonne for company and he only knows from camping out when money gets bad. But he wants to show something to her. Elaine squats next to him and traces an arc with one finger in the dirt, looking at the toothbrush. She is smiling with her eyebrows pulled in.

‘It’s to impress the female – then she’ll come down and he’ll do a sexy dance.’ As he explains, he wiggles his tail a little in a sexy dance and Elaine smiles wider.

Terry who has been leaning over them to get a look, gyrates around his walking stick. What his mating dance lacks in accuracy it makes up for in energy and the other three look on in silence while he makes the noise of a boombox with his lips pressed together. Jimmy’s fingers stretch out towards the ground in embarrassment as he keeps his bad eye – the eye that he thinks of as his secret eye – on Elaine.

‘You’re a disgustin’ specimen, Terry’, says the stone-buttocked Yvonne. Terry quickens his hips and points, wiggling himself towards her.

Yvonne stands stiff and still like a wary buffalo. ‘Never been the brightest crayon in the box’, she says and they all push past him, smiles held down. Jimmy looks back to see him finish in a bunny squat and a flick of his head.

‘Yeah!’ says Terry loudly, arms raised and both thumbs up to the tops of the trees like they are his audience.

‘Yeah’ and he finds a cigarette in his back pocket, lights it and considers its glowing end before following on.

There’d been a night of heavy breathing when Elaine and Jimmy faced each other in their swags. They hadn’t touched but they’d looked hard in the dark, seeing the glints of each other’s tongues, teeth and eyes. There is a luxury in not touching, Jimmy thinks, in not just going with your gut; they don’t have all the time in the world but they have this time, which won’t end for another few days.

He looks forward to it, imagines the beach in an old film kind of a way. The last night when they will open the wine they’ve lugged all this way – they’ll cool the bottles in a rock pool for a couple of hours, while they see what the beach has for them. He’s a beach person at heart, it’s where his childhood is at and he can’t wait to show off about it. Terry’s brought along his spearfishing gear and says he reckons on a good spot up at the point. Jimmy imagines striding into camp, a jewfish slung over one shoulder, a clutch of softly ticking crays hung from their whiskers in his other fist. When the moon’s up and the salty wine is drunk, their fingers warm and sticky with sand and cray brains, he’ll rub his foot over hers. He’ll put his wrists either side of her jaw, so as not to touch her with his prawny fingers and he’ll plant a long warm kiss on her mouth, one that shows them both that this is the start of things. He could think about staying on at the factory, him who hasn’t stayed in one spot for more than six months at a time since he was 16. Or else, Elaine could come with him, go feral together up the coast. He gets the feeling there’s not much holding her to the city anymore. He looks down at himself and he speaks softly to his hands You’re orright you bung-eyed bastard. You’re an okay sort after all.

Elaine breaks off from the group to take a pee in the scrub. She squats behind a paperbark and laughs. She’s been hip deep in croc water, has woken up feeling a huntsman, as big as both of her hands put together, tangling with her feet in her swag. But the idea that the group might hear the sound of her pissing makes it so that she can’t go. Eventually, she manages and makes a wet stain on the gum leaves. She pulls her shorts back up and a twig cracks not far up ahead. Shadows rise and fall as something heavy moves away. She catches up with the others at a jog.

Jimmy, that trunk of a man with his duff eye and his bear hands and her pal Yvonne are arguing about a fish. The argument is snapper versus flathead, but in what capacity Elaine is not sure. Terry is unusually quiet for a conversation involving food and he walks a little way from Jimmy and Yvonne.

‘Stone lighter?’ he asks quietly.

‘It was a pee’, she says, but her face flushes anyway.

‘Right’, says Terry and he smiles a weird smile. Elaine accidentally catches his eye.

By five o’clock they reach a small billabong. They strip down to their underwear and jump in like kids, laughing, drowning each other with splashing. Terry tries to duck the girls under, Jimmy dives for yabbies and opens his eyes in the bourbon-coloured water. The white legs of the other three bicycle in the open water. When he comes up for air, he can see that Yvonne is pleased with her breasts and bobs them gently up and down making small waves to the bank.

Jimmy looks a long time at Elaine and she looks back. There is a water level smile between them. He is aware of the ripples that come from his heartbeat and he sees how Elaine’s canines creep over her bottom lip. Her hair is dark now, but in the light you can see into it. Where the sun hasn’t caught her, her skin is like the damp underside of a leaf.

Elaine thinks she’s some wonderful creature. The water holds her in on all sides, she feels good in her skin. The billabong is black from the tea trees that line the bank and when she flicks her legs to the surface she’s a pale fish. She pauses before she puts her head under – a brief worry about spluttering and snotting in front of Jimmy, but then she thinks of the beach and the sea to come and she duck dives.

The dark water lifts her hair up and spreads it out, it pushes around her cheeks and taps on her eyelids as she reaches out for the leafy mud of the billabong floor, but even though she goes deep, her hands touch nothing. She kicks up for air and sends a flume of mist from her mouth. She smiles widely at Jimmy who floats on his back like an otter, hands clasped over his chest, dreaming of something.

Frogs and magpies are loud and someone finds a leech and then another and another and there’s shrill laughing.

Terry shouts, ‘It’s eatin’ the fuckin’ kidneys out of me!’ then, ‘You girls want me to check under your bras?’

Even though everyone has had a leech before and every person has treated that leech with salt or the tip of a cigarette, quietly, without fear, they all pretend this is the first time they’ve been bitten and they wallow in the hysteria, enjoying it like gobble-mouthed kids.

Out of the water, damp shirts wrapped around them like towels, Jimmy burns a fat one off Elaine’s shoulder. She looks at him sideways and curls a bit of paper bark around her finger.

‘Ta’, she says, as Jimmy passes her the cigarette which they share puffs from. He looks at her with his good eye. It creases in the corner.

The four of them set up camp a little way from the water hole, away from the leeches. Terry makes a small tepee out of kindling and rings stones around it to stop the fire spreading. Once it’s lit they hang over a billy and drink tea while they watch the bats turning circles in the creeping darkness. Yvonne stirs up a thick damper and they bake it in a pan over the fire, to be eaten with a warmed tin of bean stew and rice pudding for afters. The birds are mostly quiet and the cicadas and frogs rev themselves up, as everyone slaps on Rid against the mosquitoes.

‘Reckon we’ll beat those whales, the way we’re moving’, Terry says cleaning his bowl with a licked finger.

‘Fuckin’ A.’ Yvonne brings out a flask of bourbon to swill down the pudding with. She takes a long unflinching pull of it before passing it round and beginning a murder story.

‘There’s this girl went missing not far from Tully – all the kids hitchhike out there…’ The dark gets deeper and everyone settles in, enjoying the creep of it. Elaine thinks that there’s nothing you can’t fix by putting your cheek to the land and feeling it settle. She studies the landscape of Jimmy’s face. He is unashamedly enthralled by Yvonne’s story. His funny eye looks directly at Elaine but doesn’t see her. The lines on his forehead have dirt ground in. He’s older than Elaine and she wonders what it is he’s been doing all the time he’s been alive.

In the silence, after Yvonne’s concluding remark ‘They only ever found her thumb’, Terry farts, a loud one and everyone groans.

‘Well, that’s put that to bed’, he says and they all unroll their swags around the fire and climb in for the night. Jimmy feels the hot weight of Elaine’s foot on his and his fingers twitch on their own. Elaine sees Terry’s wet eyes, tangerine from the fire and spreads her toes out. She stays awake for as long as possible, making up script after script of how it will go with Jimmy once they reach the sea. She replays the swim at waterhole until she’s unsure if she’s made parts of it up. She finally falls asleep with her heartbeat high in her chest.

Jimmy wakes long before dawn with a pressure like a stone on his bladder. He swears quietly and rolls out of his swag to ease the ache against a tree. In the undergrowth to his right, something scrabbles. He catches a strong scent and sees a wet snout or eye in the dark. A rumble in the brush and it’s gone. Probably a pig or a dingo, but he’s glad to get back to the group, where the coals in the fire are still orange. He checks each sleeper. Terry is spread at a diagonal, mouth open, not snoring but making noise. Yvonne sleeps on her front clutching the loose material of her swag, not letting it get away. Elaine is on her side and a brown arm has slithered free. Her hair makes a perfect ring around her ear. As he watches she produces a little noise, a tiny pop from her lips as they’re opened with breath. Sleep speaking, thinks Jimmy as he burrows back into his swag, careful not to jog her feet with his, but careful also that they are touching.

The morning is hot and blue from the outset. After tea and a tidy up, they set off, aiming to reach the sea before sunset. Jimmy looks forward to a swim in the bubbling salt, a proper clean down with no bloodsuckers. Terry starts to talk about food almost immediately,

‘Lamb chops.’ He says confidently to Yvonne. ‘That’s gotta be the best type of food; lamb chops with the whole grill piece; onions, mushrooms, boiled spuds – no tomatoes though, I’m so over tomatoes.’ Yvonne rolls her eyes at him.

‘Couldn’t give a rat’s ring, Terry,’ but she hands him a date and a piece of chocolate. Elaine enjoys her feeling of emptiness. Her spit tastes of eucalyptus, she feels new, like the air and blood in her has been filtered out and changed for something better.

After midday, there’s a yell from Terry up ahead.

‘Get a look at this!’ The other three catch up to find him crouching in a small clearing surrounded by stay-a-while and they peer over his shoulder. There’s a dead butcher bird on the ground and following the line of Terry’s finger into one of the thorny bushes, they see its larder. A small mouse impaled through the neck, stiff and dry, missing parts of its hind quarters, a large Christmas beetle, upside down with the thorn square through the middle and last, still twitching, its legs up and angry, barely impaled through its leaking abdomen, a mouse spider.

‘Christssake’ whispers Jimmy stepping back.

‘How the poor bastard got it up here, I can’t figure,’ Terry says, pushing the bird with his foot to reveal the green ants starting on its wing. The mouse spider’s fangs, black and thick and shiny are up and ready to strike. It waves its legs in the air. Terry picks up a twig to poke it with, but Yvonne knocks it out of his hand.

‘Don’t be a bum, Terry. I’m not carrying yer fat dead lump out of here if you get bitten. You can count on that.’ Jimmy takes a photograph, in which Terry insists on including his own hand, so as get the scale of the thing.

They start to walk on, but Elaine stays behind a beat or two looking at the spider; its fangs reaching for her, legs pointing.

‘The sky is falling, the sky is falling!’ Yvonne shrieks in a chicken voice as thunder mumbles in the distance. Elaine looks again at the sky, but it’s still clear. The thunder is a long way off, but you can smell it in the air, which is heavy and hot. The tips of the trees sway in the sky, but there’s no breeze down on the bush floor.

A goanna clings to a Moreton Bay fig above them but nobody sees it.

Jimmy touches the side of Elaine’s hand with his little finger and as he does, the leaves to the side of her snaffle and a striped snake comes streaking out of the ground, hitting her on the boot. She barks loudly and kicks trying to get her foot away. The snake’s fangs are deeply embedded in the leather of her boot and she shakes her leg hard while around her the others dip and weave and try to help and point their sticks. Jimmy thinks he has control of the situation when he holds Elaine’s arm and beats at the snake with his walking stick, accidentally cracking her on the shin. The snake is dislodged, but instead of bolting back into the undergrowth, it turns again and bites Elaine, once, twice, three times and a fourth; calf, back of the knee, thigh, deeply, deeply again on her inner thigh. It’s snap-quick and Jimmy doesn’t have time to understand and still has Elaine by the arm so she doesn’t get away. Finally, Terry gets it – a blow to the eye – and it’s stunned. He stomps on the head, but it still twitches, so he beats it with his stick, smashing, till it changes colour, loses its stripes. It is still, but the bush crackles and carries on.

Elaine is tight-lipped and white. Yvonne cries softly into her cupped hands, the small beeps of a bird. Terry shoes leaves over the corpse of the snake and Jimmy still holds Elaine’s arm, his grip hard from not knowing what to do, from doing the wrong thing. There is blood, Elaine thinks how it looks like she’s got her period and then thinks she’d love a piece of liquorice from her backpack. She starts to turn around, to take her pack off, but her legs have lost their hardness and she is sliding back into Jimmy who is stiff and still.

‘Jesus H Christ,’ whispers Terry. He looks at the snake and away, prodding it rhythmically with his stick. ‘Jimmy,’ he says. ‘Jesus, Jimmy.’

‘S’just a nip,’ says Elaine.

As she slides to the ground with the help of Jimmy who has become flesh again, Elaine thinks about the liquorice and then about how it was a tiger. A big dose of tiger and she’s starting to feel it now, it feels like it bit her in the artery of her groin. The big one. The one where all the blood lives.

Yvonne straightens herself. She helps Elaine’s pack off her back and slides it behind her back to prop her up. She pulls out her poncho and arranges it over Elaine’s wounded leg, to keep it out of sight and then snaps the men into action.

‘Hot water - get a fire on. Get the first aid.’ She looks at the two men who are twisting their fingers. ‘C’mon s’only a fuckin’ snake bite, let’s get it sorted and get on with it.’ She’s right and Jimmy says so. He says, ‘Only a snake bite.’ Smiling at Elaine, but what they all think, Jimmy, Terry, Yvonne and Elaine is but it’s tiger. And we are deep in. Deep.

• To read the conclusion of the story, visit the Booktrust website from Tuesday 7 September.

• Evie Wyld works in the independent Review Bookshop in Peckham. She is taking part in a live-streamed book club Q&A from the shop at 7.30pm on Thursday 9 September. To find out how to submit questions for the event, visit the Booktrust website

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Vote now for the Not the Booker prize shortlist!

Today is polling day for the books blog’s coveted award: time to choose which of the many nominated books should make the shortlist

Given that so many people sent so many excellent nominations in for the first round of this year’s Not the Booker prize, you might think I’d start this blog by beaming with pleasure at the success of proceedings so far. But I can’t, because I have something very important to say beforehand. And if I don’t emphasise this point strongly enough, then that wonderful first round of the competition will all count for nothing. So, here goes. Pay careful attention:

You only have until midnight 6 September 2010 – TONIGHT – to get your votes for the shortlist in. That’s to say, not very much time at all. So get voting!

Once again, it’s a case of one reader, one vote. The five (or possibly six, if things are really close and there’s a particularly interesting book coming in sixth) most popular books will then proceed to our shorter-list stage.

As I’ve noted, the very long list is looking excellent this year. The thing that’s most struck me is how many books and authors seem entirely new. Yes, there’s also a good strong showing for the kind of books you’d expect to appear in the literary pages and contending for prizes, and I’m pleased to note that quite a few books in the running for the real Booker are on our longer list. I’m even hoping this year that some of them will get through, just so we can see how they stack up against the titles that the judges have missed. But the best thing is the fact that there are so many books that won’t have crossed the radar of most people on the literary circuit. So well done you.

Just two quick notes before I sign off and you can get on to the serious business of voting. There are a dozen or so books that were nominated and haven’t been included here. That’s because the authors don’t fit in the Booker criteria, or, as was more often the case, the books were published in the wrong year. If you can’t find a book you nominated here and think we’ve got it wrong, do say so in the comments and we’ll look into it. I’ve also made an executive decision to include the couple of nominations for graphic novels. I couldn’t find anything against them in the Booker rules, and thought it might be quite interesting if they got through … Although, again, let us know if you have objections.

Okay, enough from me. Over to you. Here’s the longlist, alphabetically for your convenience:

Dan Abnett – Triumff

Naomi Alderman – The Lessons

Kate Allan – Krakow Waltz

Martin Amis – The Pregnant Widow

Steven Amsterdam – Things We Didn’t See Coming

Kate Atkinson – Started Early, Took My Dog

Stephen Baker – Hemispheres

Ned Beauman – Boxer, Beetle

Jonathan Buckley – Contact

Angus Peter Campbell – Archie And The North Wind

Matthew Condon – The Trout Opera

John Connolly – The Gates

Michael Crummey – Galore

DO Dodd – JEW

Emma Donoghue – Room

Louise Doughty – Whatever You Love

Mogue Doyle – Mr Bawman Wants to Tango

Roddy Doyle – The Dead Republic

Nikki Dudley – Ellipsis

Tom Fletcher – The Leaping

Aminatta Forna – The Memory Of Love

Jasper Fforde – Shades Of Grey

Tana French – Faithful Place

William Gibson – Zero History

Grant Gillespie – The Cuckoo Boy

Peter F Hamilton – The Evolutionary Void

Ian Holding – Of Beasts And Beings

Matthew Hooton – Deloume Road

Alan Jamieson – Da Happie Laand

Howard Jacobson – The Finkler Question

Jennifer Johnston – Truth Or Fiction

Anjali Joseph – Saraswati Park

Dmetri Kakmi – Mother Land

Guy Gavriel Kay – Under Heaven

Andrew Kaufman – The Waterproof Bible

Justine Kilkerr – Advice For Strays

MD Lachlan – Wolfsangel

Charles Lambert – Any Human Face

Margo Lanagan – Tender Morsels

Toby Litt – King Death

Michelle Lovric – The Book of Human Skin

Annabel Lyon – The Golden Mean

Tom McCarthy – C

Andrew McGahan – Wonders Of A Godless World

Jon McGregor – Even The Dogs

Ian McDonald – The Dervish House

Emily Mackie – And This Is True

China Miéville – Kraken

Mark Millar and John Romita Junior – Kick Ass

Kei Miller – The Last Warner Woman

David Mitchell – The Thousand Autumns of Jacob de Zoet

Lisa Moore – February

Blake Morrison – The Last Weekend

Neel Mukherjee – A Life Apart

Paul Murray – Skippy Dies

Joseph O’Connor – Ghost Light

Andew O’Hagan – The Life And Times Of Maf The Dog And His Friend Marilyn Monroe

Maggie O’Farrell – The Hand That First Held Mine

Bryan Lee O’Malley – Scott Pilgrim’s Finest Hour

Tony O’Neill – Sick City

Landed – Tim Pears

KJ Parker – The Folding Knife

Anne Peile – Repeat It Today with Tears

DBC Pierre – Lights Out In Wonderland

Alex Preston – This Bleeding City

Tom Rachman – The Imperfectionists

Mark A Radcliffe – Gabriel’s Angel

Piers Paul Read – The Misognyist

Dan Rhodes – Little Hands Clapping

James Robertson – And the Land Lay Still

Ray Robinson – Forgetting Zoë

Gord Rollo – Strange Magic

Lee Rourke – The Canal

Max Schaefer – Children of the Sun

Caroline Smailes – Like Bees To Honey

Red Plenty - Francis Spufford

Oliver Stark – American Devil

DJ Taylor – At the Chime of a City Clock

Peter Temple – Truth

Mike Thomas – Pocket Notebook

Our Tragic Universe – Scarlett Thomas

David Weber – Mission Of Honor

Gerard Woodwood – Nourishment

Chris Womersley – Bereft

Jacqueline Yallop – Kissing Alice

Matthew Yorke – Pictures Of Lily

That’s getting on for 100 books. What do you make of them?

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The Marxist Miliband

For Ralph Miliband governments could never tame capitalism. New Labour thought otherwise – and then came the financial crisis. But what will David or Ed do if they gain the leadership? By John Gray

Viewed from one angle Ralph Miliband was a theorist of revolution who failed to notice the radical transformations going on around him. A lifelong Marxist, he never doubted that the future would be shaped by the struggle against capitalism. In fact it was capitalism that proved to be the revolutionary force in the late 20th century, consigning socialism to the memory hole. By the time Miliband died in May 1994, the Soviet system had been replaced by a type of resource-based authoritarian capitalism, while China’s Communist party was overseeing the development of an unbridled market of a kind that Milton Friedman could only dream about.

In Britain in the 1980s Miliband managed to convince himself that Labour, which he had always bitterly attacked, might, under the influence of Tony Benn, turn into a genuinely socialist party. In fact Labour split, which more than any other single factor enabled the continuing dominance of Thatcher. Probably only the battles fought by Neil Kinnock prevented Labour disintegrating altogether. When John Smith became leader, the party began the “prawn cocktail offensive”, a rapprochement with the financial sector pursued through private lunches with leading City figures, which formed the prelude to New Labour. Only weeks after Smith died (in the same month as Miliband) the party would start burying any trace of its socialist past.

When he gave the Bennite wing his intellectual support, Miliband was colluding in the politics of make-believe. Yet in one vital respect this intractably oppositional Jewish refugee from nazism had a firmer grip on reality than the social democrats who eventually prevailed in Labour’s internecine conflicts, and when he ridiculed Anthony Crosland’s vision of a domesticated and pacified capitalism, he left the party with a dilemma it has not been able to resolve. Like Marx, Miliband understood that states and governments are never autonomous actors; their options are shaped, and often foreclosed, by the distribution of power and resources. This was the central theme of Miliband’s The State in Capitalist Society (1969), a penetrating assault on social-democratic thinking in which he developed and extended the argument against revisionism of his earlier Parliamentary Socialism: A Study of the Politics of Labour (1961).

In The Future of Socialism (1956), Crosland had argued that Labour must distinguish between means and ends (a theme pursued later by Blair). Capitalism had changed fundamentally, and rather than opposing it Labour should use the market to advance socialist values. Properly managed to ensure steady economic growth, free markets could be used to promote an egalitarian society in which everyone could live the good life. Against this rosy vision, Miliband urged – rightly, I’ve always thought – that the world had not changed as much as Crosland and his fellow-revisionists imagined. Capitalism remained an unruly beast, and the idea that governments had learnt how to tame it was just an illusion.

The oil shocks of the 70s were an early warning of the fragility of the postwar order. The shocks were not fatal, and capitalism survived the crisis (as it will survive the present crisis, in one form or another). But it was already becoming apparent that while governments could withstand upheavals in the global economy, the state was not the directing agency social democrats imagined it to be. As Miliband saw it, the state was a servant of these forces rather than their potential master. Of course he exaggerated. The interests of capitalists are often at odds, and in any case politics is driven by far more than class conflict. Even so, Miliband’s view that the state is constrained, reactive and hemmed in by market forces has become increasingly plausible with the passage of time. But if this is so, what role can there be for a party that aims to make capitalism a force for the collective good? Can a future Labour government succeed where past governments have failed and harness capitalism to a vision of social improvement? Or should Labour accept that it is capitalism itself that must be changed?

These are precisely the questions that face Miliband’s sons as they contend for the Labour leadership. The clash between the two has an undeniable drama, and it is not just a matter of sibling rivalry. It occurs at a time when the world economy is in a crisis the founders of New Labour believed to be impossible. Lacking the Marxian insight that capitalism is inherently volatile and constantly mutating, they never doubted that the deregulated finance-capitalism that developed in the US towards the end of the past century would last. The left had to overcome its suspicion of the free market, and accept that only by exploiting its productivity could government improve society: social democracy and neo-liberal economics were actually complementary.

Just like Crosland, though without his Keynesian grasp of the dangers of recurring boom and bust, New Labour believed capitalism had been tamed. But as Ralph Miliband suspected and events have confirmed, the anarchic energy of the free market is not so easily controlled. The fall of communism was celebrated as a triumph of capitalism, which now became practically world-wide; but the effect was to make capitalism more unstable, as disturbances in one part of the system were rapidly transmitted to all the rest. The fragmented world of the cold war was more resilient to shocks, and also more hospitable to social democracy, than the world that ensued. Governments found that few of the levers they used to control the economy worked as they had before. New Labour did not want to control the market. A feature of the understanding it reached with the City was that financial markets would continue to be deregulated. In part this was accepted as the price for power, but it also reflected New Labour’s Fukuyama-like faith that market capitalism was the final stage of economic development; the future lay with the self-regulating market.

As could be foreseen, things turned out rather differently. With regulatory controls relaxed or scrapped the financial institutions whose support Labour had wooed became predatory, raking in vast profits from strategies whose risks they did not understand. Inevitably this hubris led to their downfall, and the financial system imploded. The market millennium lasted hardly more than a decade, leaving a legacy of unsustainable debt.

The happy conjunction of neo-liberal economics with social democracy on which New Labour was founded is now history. This is the truth evaded in Tony Blair’s autohagiography. If New Labour is obsolete it is not because of the personal defects of Gordon Brown, Blair’s delusional moral certainty and incessant war-mongering or even the dysfunctional relationship between the two leaders. It is because American finance-capitalism, the model for virtually everything that New Labour ever did, has blown itself up.

The problem with the debate between the Milibands is not that it risks turning into a public family feud. It is that neither of the two contenders has come to terms with the bankruptcy of the New Labour project in which each of them was involved. Neither has acknowledged, or perhaps fully understood, the implications of the financial crisis for a future Labour government. It can only mean an erosion of the very foundations of Britain’s social democratic inheritance. Yet in different ways, each of the Miliband brothers still sees government as capable of controlling market forces – the illusion their father presciently exposed.

In his Keir Hardie lecture in July, David Miliband spoke eloquently of moving away from state paternalism and reviving Labour traditions of mutualism. The state can no longer be the centre of knowledge and initiative – its function is rather that of empowering society. Top-down Fabian control must be replaced by open democratic relationships. No doubt these are desirable goals, if very much in the spirit of the prevailing conventional wisdom and perhaps not so different from Cameron’s fluffy “big society”. The larger difficulty is that Miliband is harking back to Crosland (whom he recently cited as his political hero) at a time when Crosland’s thinking is no longer applicable.

Crosland’s vision was based above all on economic growth – steady, continuing and robust. Following Keynes, he believed that wise economic management could create a society of abundance. But the effect of the financial crisis has been to curtail growth, at least in developed economies. Even if the economy recovers, governments will not have the largesse he assumed would be available. Bailing out the banks has passed the burden of debt on to the state, and no British government can expect to avoid large-scale cut-backs in borrowing and spending. Instead of the market generating wealth that could be used by governments for collective purposes, the resources of government have been pre-empted for the repayment of debts incurred by the market’s excesses. Against this background, the post-paternalist state is likely to mean higher unemployment and cash-starved public services.

Unlike his brother, Ed Miliband has chosen to define his candidacy explicitly in terms of New Labour’s failings and argues forcefully for the need to remodel capitalism. “Britain’s big question of the next decade,” he has written, “is whether we head towards an increasingly US-style capitalism – more unequal, more brutish, more unjust – or whether we can build a different model, a capitalism that works for people and not the other way around”. Once again these are noble aspirations but far removed from reality. Globalisation is an idea that has been greatly over-hyped, yet governments’ freedom of action has without question been reduced as capital has become more mobile. Even the US may soon find it difficult to fund its ballooning federal debt. But if American capitalism is entering a crisis zone, Britain will not have the luxury of forging a new economic model; it will have trouble just staying afloat. Ralph Miliband’s pessimistic assessment of the future of social democracy could well be vindicated.

If one of the Miliband brothers wins the Labour leadership and becomes prime minister he will confront in an acute form the constraints on the power of the state his father astutely identified. Rather than controlling or reshaping capitalism, a Miliband government would find itself struggling to preserve Britain’s social democratic inheritance in the face of capitalism’s renewed disorder. Ralph Miliband seems never to have lost the Marxist faith that history would eventually open the way to a truly socialist society. He would surely have appreciated the curious dialectic through which it has fallen to his sons to defend the social democracy he so fiercely attacked.

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Mao’s Great Famine by Frank Dikötter

The horrors of China’s Great Leap Forward are unveiled in this masterly study of the hateful plan

Frank Dikötter has written a masterly book that should be read not just by anybody interested in modern Chinese history but also by anybody concerned with the way in which a simple idea propagated by an autocratic national leader can lead a country to disaster, in this case to a degree that beggars the imagination.

The basic narrative of the great famine that hit the People’s Republic around 1960 has been known outside China at least since Jasper Becker’s groundbreaking 1996 account, Hungry Ghosts. Its claims were doubted by those who could not accept the sheer monstrous scale of the calamity visited on the Chinese people as a result of the Great Leap Forward launched by Mao in 1958 to propel China into the ranks of major industrial nations. But now Dikötter’s painstaking research in newly opened local archives makes all too credible his estimate that the death toll reached 45 million people.

Staggering though it is, the statistical total is only part of the story that this book tells. By digging into the records, Dikötter provides a detailed litany of the degree of suffering the Great Helmsman unleashed and the inhumane manner in which his acolytes operated. Horrors pile up as he tells of the spread of collective farms and the vast projects that caused more harm than good and involved the press-ganging of millions of people into forced labour. As the pressure mounted to provide the all-powerful state with more and more output, the use of extreme violence became the norm, with starvation used as a weapon to punish those who could not keep up with the work routine demanded of them. The justice system was abolished. Brutal party cadres ran amok. “It is impossible not to beat people to death,” one county leader said.

In the draconian, top-down, militaristic system that ruled China, the harsh execution of orders was a way for officials to win promotion as they were set impossible targets for everything – even for the number of executions. The inefficiency, waste and destruction were gigantic. The masses in whose name the Communist party claimed to rule were eminently disposable. From 1927 to their victory in 1949, Mao and his companions had waged ruthless warfare (against equally ruthless if less effective nationalist opponents); now the campaign was economic and the farmers and industrial workers were the fodder expected to sacrifice themselves for the cause dictated from on high. Anybody not ready to lay down their life would have it taken from them in the name of the higher good of the cause.

The book’s title is somewhat misleading. Horrific as it was, with its cannibalism and people eating mud in search of sustenance, the famine generated by the Great Leap’s failure and the diversion of labour from farming was only part of a saga of oppression, cruelty and lies on a gargantuan scale. Initially launched to enable China to overtake Britain in steel production, Mao’s programme took on a deadly life of its own. At the apex of the system, the chairman refused to recognise reality, spoke of people eating five meals a day, insisted on maintaining food exports when his country was starving and indulged in macabre throwaway remarks such as: “When there is not enough to eat, people starve to death. It is better to let half of the people die so that the other half can eat their fill.”

The depth of Dikötter’s research is enhanced by the way in which he tells his terrible story. The book is extremely clearly written, avoiding the melodrama that infused some other recent broadbrush accounts of Mao’s sins. He also puts the huge disaster that befell China into the context it needs – the Sino-Soviet split, Mao’s ambitions for the People’s Republic and the acquiescence of most of those around him until it was too late.

Finally, somebody had to confront the leader. As China descended into catastrophe, the second-ranking member of the regime, Liu Shaoqi, who had been shocked at the conditions he found when he visited his home village, forced the chairman to retreat. An effort at national reconstruction began. But Mao was not finished. Four years later, he launched the Cultural Revolution whose most prominent victim was Liu, hounded by Red Guards until he died in 1969, deprived of medicines and cremated under a false name.

The Cultural Revolution is widely remembered, the Great Leap much less so. Having gone through those two experiences, not to mention the mass purges that preceded them and the Beijing massacre of 4 June 1989, it is little wonder if the Chinese of today are set on a very different course that rejects ideology in the interests of material self-advancement.

But there is one enormous snag. The Communist party still holds that Mao was 70% good, 30% bad. The Great Helmsman’s face stares out over Tiananmen Square and from the country’s bank notes. If the bad things that happened under him are common knowledge, he has slipped into the time-honoured category of rulers who wished to do good but whose aims were traduced by evil subordinates.

Though some mainland historians have bravely delved into the history of the period covered in this book, the truth is still too troubling to be acknowledged openly by the current rulers of China for one simple reason: Mao is the first emperor of the regime established in 1949 and they are his heirs. Dikötter’s superb book pulls another brick from the wall.

Jonathan Fenby is author of The Penguin History of Modern China. His most recent book is The General: Charles de Gaulle and the France He Saved (Simon & Schuster).

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‘America’s top satirist’

Gary Shteyngart’s life story is more colourful than most fiction, and he draws on it again for his third, and best, satirical novel

These days, an American writer, like the politicians he votes for, needs a narrative – not a story to tell, but one he has lived, one that makes him saleable. McCain purveyed the tale of his travails as a prisoner of war, Obama the saga of his multicultural family. Gary Shteyngart, too, has what he calls a “special story”. It is the source of his quirky uniqueness and of his antic creativity and he retells it in each of his three novels.

In The Russian Debutante’s Handbook, a Russian Jew newly settled in New York is sent on a ludicrous and lethal mission to anarchic Prague, still adjusting to its freedom from Soviet control. In Absurdistan, a Russian Jew newly settled in New York travels to an anarchic, oil-rich, Middle Eastern republic, just freed from Soviet control, and blunders into a position of power as minister of multicultural affairs. Super Sad True Love Story, Shteyngart’s new novel and his best so far, introduces a variant. Here, a Russian Jew newly settled in New York stays at home and defends his city against menaces that have more to do with the decline of American power than with the collapse of the Soviet empire: the war-mongering of the rightwing, religious bigotry, the encroachment of illiteracy and the delusions of consumerism.

The picaresque heroes of the three books – Vladimir Girshkin, Misha Vainberg and Lenny Abramov – are all versions of Gary (born Igor) Shteyngart himself, a gnomic wisecracker whose personal history has made him an authoritative guide to our disoriented, disintegrating world. He was born in Leningrad, as it then still was, in 1972, an only child: “Russians,” as he said to me with a doleful chuckle, “don’t breed in captivity.” He was a sickly, asthmatic boy, always being shuttled to hospital in an ambulance. A grandmother rewarded him with gobbets of cheese when he showed her instalments of a journal he wrote at the age of four.

When he was seven, his parents emigrated to New York, part of the consignment of “grain Jews” exchanged for wheat President Carter sent to Russia. On arrival, little Gary felt he had landed on Mars. The Pan Am terminal at JFK airport was shaped like a space station! The highways on Long Island were twisted into cloverleafs! Pizza oozed thick rivulets of sauce! People lived in single-family dwellings! Agog at the strangeness of this new world, he remained a mystified outsider. For the first four years, his family had no television and at school Gary was derided for not knowing about the latest exploits of The A-Team.

He was 14 before he lost his gruff Russian accent. “The kids at Hebrew school called me the red gerbil,” Shteyngart told me, still wincing. “After a while I pretended to be from East Berlin, that made it easier. I guess it was like being a Saudi immigrant today.”

“With a background like mine,” Lenny asks in the new novel, “who needs self-invention?” Shteyngart’s background supplied him with the persona that is his camouflage and his sly revenge. Comedians are adept at turning defects and deficiencies into sources of strength and he is still disarming the school bullies by pretending to be a dunce. In the filmed trailer for his bookhe reassumes his wetback accent and blunders illiterately around literary New York with a goofy grin and a gawping mouth; his act – or shtick, as Yiddish humourists used to call it – comes close to Sacha Baron Cohen’s Borat, though his is better potty-trained than the holy fool from Kazakhstan.

Shteyngart once defined himself as “small, furry and poor”, failing to add that he was by way of compensation almost maniacally smart, keeping up a barrage of wordplay like a machine gun that emits one-liners. He is still small, as I discovered when he opened the door of his new apartment near genteel Gramercy Park on East 18th Street in Manhattan, but the fur, once so ursine that he posed for a publicity photo with a bearcub, gazing at it as fondly as if it were a relative, has been trimmed to a rakish goatee. And he is no longer poor; the real estate section of the New York Times reported that the apartment cost him $1.175m (£762,000). “Wasn’t it great that they publicised that?” said Shteyngart, aggressively baring two barbed rows of immaculate American teeth. “I call it ‘The New York Lifestyle Times’ in my book. They know what their readers want: everyone in this city is a real-estate whore.”

Shteyngart used to live in what was once the immigrant ghetto on the Lower East Side, high up in a tower of almost Soviet bleakness inhabited by Jewish retirees on walkers or in wheelchairs. “Sure, we had a death board in the lobby, with a new posting every day: ‘Mrs Cohen passed away in 18G’. Now here I am – me who never thought I’d get above 14th Street!” That is the official border between funk and respectability, bohemia and affluence, and Shteyngart, in a room empty except for two sagging chairs clad in the bristly fabric that Russian babushkas wear in the winter, with an ancient air-conditioner coughing as it regurgitated the soupy summer heat, seemed unsure whether to forgive himself for his transgression.

“Maybe I’ll get boring, maybe I’ll Gramercify. It’s a weird neighbourhood. Falafel everywhere; I’m already more chickpea than man. There’s a bar round the corner with the fanciest urinal you ever saw – gigantic, like Niagara; I’m gonna have my ashes scattered there. Meanwhile I have to decorate.” He rolled his eyes at a desert of yellowing wallpaper. “I’m in talks with this Danish-German designer, very minimalist. We’re thinking of doing away with the ceiling. No roof, just open air.”

Only a permanently displaced person would make a joke like that: Shteyngart still thinks of himself as a harried refugee, camping out. “It’s true, my favourite time is the 40 minutes it takes the taxi to get me to JFK.” His trips to the airport are mostly at the behest of travel magazines, which send him off to report on what he calls “the Absurdistans of the world – places like Croatia after the war, where they weren’t impressed by 9/11 because they’d been living in Ground Zero all along.”

Still, the move is a measure of his success. Granta chose him as one of its Best Young American Novelists in 2007, and last June the New Yorker included him in its list of 20 notable writers under 40. I asked about how he would domesticate the stark room in which we were sitting on the lumpy, itchy armchairs. “I don’t have many possessions, apart from my books. Those planks stacked over there are going to be my library, like Lenny’s ‘wall of books’ in the novel. My bookcase in the old apartment used to amaze people. When buyers were looking round they took pictures of it on their phones: they couldn’t believe I still read, instead of scanning a screen for data. I had a cable guy come in once. He’d never seen such a small TV” – the boxy, fustily obsolete item lay in a corner, not even plugged in – “or so many books. He didn’t know what to make of it, so he finally said, ‘Man, you keep your books very neat!’” The quotation emerged from Shteyngart’s mouth in a richly syrupy Caribbean accent, quite unlike his own rat-tat-tat gabble; his armoury as a comedian includes a gift for mimicry.

Those absent books, still crated in some storage warehouse, are Shteyngart’s bastion. “My parents spoon-fed me Chekhov before we left Russia. And I read Huckleberry Finn and Tom Sawyer in Stalin-era editions, with prefaces by ideological maniacs raving about how the racist cadres of slave-owning Americans had to be overthrown.”

He arrived in America to find that literature and literacy were on the way out. “In America, everyone writes but no one reads. Everyone’s writing all day long – sending emails, tweets, text messages; they all think they’re James Cameron’s Avatar, performing in some video game for which they make up the script. It’s too easy, like a wank. Reading is hard work. There’s a fantastic publisher called Tin House in Portland, Oregon, which will only allow you to submit your manuscript if you include store receipts to show how many books you’ve bought over the past year. Electronic communications make no sense to me. I had to dunk myself in American popular culture for this book – it’s set in the near future, when people live on their laptops and mobile phones – but I needed a research assistant to explain Facebook to me.”

Lenny’s Korean fiancée, Eunice Park, has a degree in “images and retail” and considers his books to be mouldy, foul-smelling doorstops. Since Shteyngart too has a Korean fiancée, I wondered whether she had banned his library? “No, she’s a reader like me, she loves my work. Ah,” he said, rolling his eyes in happy disbelief, “without fiction, where would I be?”

He began writing Super Sad True Love Story in 2006, as a speculative exercise. “I thought, what if America was no longer the top banana? What if it went the way of the USSR or, dare I say it, the UK? What if China took over? Then, while I was writing, it all happened – the collapse of Ford and GM, the banking catastrophe. America had this messianic belief that it was unique, outside history. What we’re seeing now is that the country’s disappearing into history, while the Chinese are lining up to sell us advanced nose trimmers and whatever else we don’t need and can’t do without.”

Like all satirists, he enjoys revenging himself on a world that disappoints him, and in the new novel, as well as stirring up global mayhem, he sinks a Staten Island ferry with a couple of likable minor characters among the hundreds of passengers on board. “Yeah, that’s what I always liked about science fiction – you can make the world end. Humour is my multiple warhead delivery system. I used to pine for a nuclear holocaust when I was at Hebrew school. All I wanted was to irradiate people; so much better than reciting prayers!”

There is guarded hope in Super Sad True Love Story too, in Larry’s affection for the ditzy Eunice and in his adoration of New York (which by the end of the book has been redefined by its corporate managers as a “Lifestyle Hub and Trophy City”, out of bounds to all but the biggest spenders). Shteyngart is glad to be an expatriate – “If I still lived in Russia, I’d be dead… or a really effective oligarch” – but he also dreams of repatriation, to Europe, if not to Russia. Lenny escapes from “post-rupture America” to what has become the Tuscan Free State and Shteyngart wrote the sunniest sections of the novel in Umbria. Closer to home, he has begun to toy with the possibility of a refuge in upstate New York. “A dacha, now that would be nice. And a dachshund to go with it, of course.”

The fantasy, when he forgets the prophecies of doom and indulges it, reveals how contentedly American this professional alien actually is. The immigrant dreams of acceptance, money and love. Shteyngart has the first two, and, despite his mocking banter, can’t get enough of the third. After we met, I went to hear him read from his novel at a bookshop in Union Square. At the end of the session, before signing copies, he asked the audience for questions. “Or complaints, if you have any. I mean, why are you here?” There was a shifty silence. “What, nothing?” said Shteyngart. “So, anyone want to give me a hug?” It is the question America addresses to the world, when it’s not swaggering and threatening. No one hugged Shteyngart, but he had plenty of customers, which surely made him even happier.

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Over the moon

We all want to be happy, we want our children to be happy, and there are countless books advising us how to achieve happiness. But is this really what we should be aiming for?

“A fly bothers me, I kill it: you kill what bothers you. If I had not killed the fly, it would have been out of pure liberalism: I am liberal in order not to be a killer.”

Roland Barthes by Roland Barthes

He was not to be described as a happy person,” Diana Trilling wrote in a memoir about her husband, the critic Lionel Trilling. “Indeed, he thought poorly of happiness and of people who claimed to be happy or desired happiness above other gratifications in life . . . seriousness was the desirable condition of man.” It is easy to make all sorts of assumptions about why an unhappy person would not value happiness; and indeed why seriousness might be seen as an alternative to happiness; or just to say that it was seriousness that made Trilling happy. One of the ways in which happiness is made to seem like an inclusive ideal – the ways it charms us – is by our asserting that by definition the things that matter most to us must make us happy, that that is how we know they are good. It’s as though one word could do the work of the moral imagination.

Or can we just say that if happiness is one’s aspiration, then learning about the history of the slave trade, say, or watching the news, or indeed ageing are all to be avoided. And yet learning about the terrible things people can do to each other, and the history of the terrible things people have done to each other, is important – we can’t imagine a life without it – and gives some people a great deal of pleasure; pleasure, as psychoanalysts might say, of various kinds. Anyone who has or knows children, or remembers being a child, will know how happy it can make them tormenting their siblings. And so if we value happiness we can’t help but wonder what morality it entails, what kind of morality it might involve us in.

It is not surprising, in other words, that happiness has always had rather a mixed reception. No one in their right minds we might think, especially now, would be promoting unhappiness; and yet the promotion, the preferring of happiness – the assumption of a right to happiness – brings with it a lot of things we might not like. And the desire for happiness may reveal things about ourselves that we like even less. “A people who conceive life to be the pursuit of happiness must be chronically unhappy,” the anthropologist Marshall Sahlins wrote.

What are we going to have to do, what are we going to have to become, what are we going to have to renounce or ignore if we want to be happy? Or if we are to propose happiness, or its pursuit, as some kind of right? We tend to make rights of things we assume to be in short supply, things perpetually under threat. Wherever there is scarcity now human rights are asserted; and the assertion of rights is reactive to a sense of scarcity deemed to be needless. Or, to put it slightly differently, calling something a right can be a way of rhetorically enforcing an important wish, a way of making a wish sound important.

I want to begin with three fairly obvious propositions that are also misgivings about the right to happiness or its pursuit. And I’d like to suggest that the right to frustration may be more useful and interesting – more enlivening – than the right to happiness. That’s to say I want to waylay the common, all-too-plausible idea that the solution to frustration is satisfaction, or that happiness is the answer to unhappiness, or that if we get rid of the bad things, the good things will start happening. Happiness and the right to pursue it are sometimes wildly unrealistic as ideals; and, because wildly unrealistic, unconsciously self-destructive.

Because happiness is not always the kind of thing that can be pursued, we should view it, more often than not, as a lucky side effect but not a calculable or calculated end. Making it such an end all too easily brings out the worst in us. If this is a version, to rewrite John Lennon’s famous line, of “happiness is what happens to you when you are doing something else”, it also suggests that scarcity is integral to a sense of reality; that we should be thinking of what Philip Larkin in “Born Yesterday” called “a skilled, / Vigilant, flexible, / Unemphasised, enthralled / Catching of happiness” rather than the engineering of it.

Our relation to happiness often betrays an unconscious desire for disillusionment. The wanting of it and the having of it can seem like two quite different things. And this is what makes wishing so interesting; because wishing is always too knowing. When we wish we are too convinced of our pleasures, too certain that we know what we want. The belief that we can arrange our happiness – as though happiness were akin to justice, which we can work towards – may be to misrecognise the very thing that concerns us.

My three fairly obvious propositions are: first, in Freud’s formulation from Civilisation and its Discontents, “happiness is something essentially subjective” (subjective I take it, in the sense of being not only personal but idiosyncratic). We can be surprised by what makes us happy, and it will not necessarily be something that makes other people happy. This has significant consequences not least in the area of our lives that is sometimes conducive to happiness, sexuality. And this makes happiness as a social or communal pursuit complicated. We have only to imagine what it would be for someone to propose that we had a right to sexual satisfaction to imagine both how we might contrive this and what terrible things might be done in its name.

Second, bad things can make us happy – and by bad things I mean things consensually agreed to be unacceptable. It clearly makes some people happy to live in a world without Jews, or homosexuals, or immigrants, and so on. There are also what we might call genuinely bad things, like seriously harming people and other animals, that gives some people the pleasure they most crave. I remember a very unhappy boy of 10 telling me in a psychotherapy session that he was only happy when he was cutting the feet off rats that he had caught. He said it made him feel “really awake”, that it was like “turning on the light in your favourite room in the world”. Cruelty and humiliation make some people happy, perhaps lots of people happy some of the time; and this issue is not dealt with merely by saying that they are not really happy or that they are in some way perverse or sick. We tend to pathologise the forms of happiness we cannot bear. If we are to have a right to happiness or to its pursuit – two different things – we must then acknowledge the full range of things that make people happy. This means taking them at their word. Cruelty can make people happy. And we might then want to think about what problem, or rather problems, happiness is deemed to be the solution to. It is not, for example, incidental to our predicament that so many of our pleasures are, or are felt to be, forbidden (this is what Freud’s account of the Oedipus complex is a way of thinking about). So put briefly – as every child and therefore every adult knows – being bad can make you happy. Happiness is subjective, it takes many forms, and one of its forms is immorality.

Last but not least – though the least exciting – is the third point: some people like being unhappy. Indeed for some people their lives can be construed as the pursuit of unhappiness. It is astounding the lengths to which some people will go to be unhappy, to contrive their own misery, as though happiness itself were a phobic object and held terrors. And we don’t talk of the right to be unhappy, when we should. Unhappiness can, after all, among many other things, be the registration of injustice or loss. At its best, a culture committed to the pursuit of happiness might be committed, say, to the diminishing of injustice; but at its worst, the culture of happiness may proscribe a whole range of feelings and perceptions.

It is sometimes said that psychoanalysis is one of the last places in the culture where people are allowed to be unhappy. And clearly psychoanalysis protects, if it does not actually foster, a person’s right to be unhappy. The subjectivity of happiness, what it is that the individual really loves and gets pleasure from, the immorality of pleasures and the lure of transgression, happiness as a perversion, the fear of pleasure and the masochistic solution – all this is the material of psychoanalysis, and not only of psychoanalysis.

Yet, historically, psychoanalysis is the inheritor of a set of political propositions it would seem to be at odds with; or at least at a very odd angle to. If Freud and happiness doesn’t sound like a very promising subject, Freud and rights seems even less so (there’s only one reference to the rights of man in Freud’s work). Rights, like class, have never really been the thing for psychoanalysis; omissions, one would think, of some significance. Don’t have much confidence in the so-called rights of man, Freud seems to say in his New Introductory Lectures; they are no match for the ferocity of inner morality – the super-ego, or “conscience”. The whole business of rights only turns up when the individual, the melancholic individual, is briefly released from his internal regime (”For after a certain number of months the whole moral fuss is over, the criticism of the superego is silent, the ego is rehabilitated and again enjoys all the rights of man till the next attack.”) Morality, at least in these patients, is periodic, as are the rights of man, the gift, as it were of a higher power.

“Our normal sense of guilt,” Freud writes, “is the expression of the tension between the ego and the super-ego”. This translates as: our happiness depends on the distance between who we are and who we should be according to the dictates of our internalised morality. We are mostly unhappy because we are rarely as we should be. When the internal authorities are so implacable and sadistic — over-severe, abusive, humiliating, as Freud writes — what are the possibilities for happiness?

The right to happiness, or to its pursuit, would mean the right to a generous super-ego, the right to a super-ego that was on the side of one’s pleasure: one that promoted the view that feeling alive was more important than being right or good. It is one of Freud’s more horrifying ironies that the pursuit of pleasure incites, calls up, the super-ego. And, of course, when and if pleasure is forbidden its pursuit requires punishment. There is no such thing as a free lunch. Virtue has to be its own reward. To pursue pleasure is to be pursued by punishment. There is no one more moralistic, more coercive, than a hedonist.

As the right to happiness or its pursuit is my subject, and I am by training a child psychotherapist, all this is by way of a lengthy preamble to putting together the famous sentence from Thomas Jefferson’s Declaration of Independence with something from the paediatrician and psychoanalyst DW Winnicott’s story about child development. I want to ask what, if anything, the right to happiness or its pursuit has to do with the child’s development; whether Jefferson’s founding declaration has anything to do with the declaration of independence that is the child’s personal development.

“We hold these truths to be self-evident; that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty, and the pursuit of Happiness”. Some of us might not believe in the Creator part now, and some of us might find more and more difficult the idea that people are born equal when the conditions in which they are born are manifestly so unequal; and most of us would want to assume that by “men” Jefferson meant “people”. And yet, as many people have noted, the pursuit of happiness – something not mentioned in the French Declaration of the Rights of Man and of the Citizen, nor in the Universal Declaration of Human Rights – seems peculiarly salient; it is the only one of the things listed that is a pursuit.

What exactly might it mean to have an “unalienable right” to “the pursuit of happiness”, given that it is fairly obvious that the pursuit of happiness is so morally equivocal – could be, among other things, a threat to the society that promoted it? At first sight it seems to be a pretty good idea; if we are convinced of anything now we are convinced that we are pleasure-seeking creatures, who want to minimise the pain and frustration of our lives. Or at least a “we” could be consolidated around these beliefs. We are the creatures who, possibly unlike any other animal, pursue happiness. But the pursuit of happiness, like the pursuit of liberty – the utopian political projects of the 20th century – has legitimated some of the worst crimes of contemporary history across the political spectrum.

In Jefferson’s Declaration, the art critic Dave Hickey has noted, “Happiness is not assured, but its pursuit is protected . . . the government will act to ensure our safety, and it will stand back as we act on our own behalf in the ‘pursuit of happiness’. When that pursuit putatively threatens our safety the government invariably steps in. Safety trumps happiness, the government always wins.” It is not too much of a stretch here to see, in this account, the government as the parents, and the citizens as adolescent children; the governmental parents protect the pursuit of happiness, but prioritise safety. The developing child pursues his own happiness under the rules and conditions provided by the adults. Children cannot bring themselves up, and children cannot bring up children (in Lord of the Flies the question recurs: “are there any adults?”).

If it is said, or written, that we have a right to be happy or to pursue happiness, it is assumed that happiness is something we are capable of, something that is available, if certain obstacles are removed. If liberty is there when tyranny is taken away, happiness is there when whatever makes us unhappy is removed. From a pragmatic point of view the art of a good life involves removing the obstacles to happiness; the picture, if we visualise it, is of something looked for, something looked forward to, and of there being something in the way. And this something in the way could be called an unavailable mother, a prohibitive father, competing sibling, not having enough brains or beauty, or charm, or money, or education, or luck. We would get closer to our happiness were these things acquired; and a reality sense would be something to do with acknowledging which of these things cannot be acquired. It is all about, in short, our relation to obstacles; our distinguishing the intractable from the changeable, what we have to acknowledge from what we can influence; whether our desire is forbidden or not – whether we want a cream cake or another man’s wife. It is, in pragmatic terms, about knowing what is possible. And everybody, it seems, is shadowed by an imaginary other person, a lucky counterpart, who gets all the happiness going; Lacan writes of “the jealousy born in a subject in his relation to an other, insofar as this other is held to enjoy a certain form of jouissance or superabundant vitality”. This other person presumably enjoys his happiness, his super-abundant vitality with no conflict, with no thought of safety, with no consideration of the rules and conditions required by the good of the rest.

A right to the pursuit of happiness must be a right to remove the obstacles to happiness. This, at least, is the logic of the case. The man called the happiness tsar, Lord Layard, says we now know what makes children happy (the book he co-authored last year is called A Good Childhood). What, then, are the obstacles to the child’s happiness, and why can’t we set about trying to remove them? And some of them we can remove. But what if the so-called obstacles to happiness are, or sometimes are, among the things that matter most to us? If, say, we love both luxury and justice? What if two mutually exclusive things make us happy, and one has to be abrogated? And what if some obstacles are immovable, untransformable into anything other than obstacles?

There is something about the sexual drive, Freud suggested, that makes it intrinsically unsatisfiable. There are not infinite resources of food, of energy, of medicine. It is, for example, true, as every mother knows, that the mother cannot give the child everything that he wants, and that if she could it wouldn’t be what he wanted. That everyone feels left out of something. It is misleading to think that one’s parents have been the obstacle to one’s happiness, even if they have radically thwarted it. Indeed we might end up thinking that a right to irresolvable conflict might be the most realistic right we could come up with. That the attempt to resolve at least some conflicts was a distraction from finding better ways of living them; that the right to pursue happiness has seduced us into pursuing happiness when we could have been doing something better.

If the alternative to happiness is not, in the binary way, unhappiness; and if happiness has become so insidious, so hypnotic a single end for a good life, why have we wanted this strange narrowing of our intent? What have we lost, or forgotten, or ignored, or paid insufficient attention to, or protected ourselves from by wanting happiness? Happiness, it would seem, is the most plausible of our aims in life. But what psychoanalysis can chip in with here is that we are at our most defensive when we are at our most plausible.

One of the other things we most want is to be able to feel frustrated; to register what we feel deprived of. Frustration issues in many things only one of which is happiness; and happiness can be, at its worst, a pre-emptive strike against frustration, a refuge from it rather than any kind of productive, unpredictable transformation of it. If we want to talk of a right to pursue happiness there needs to be a prior right, as it were, to feel frustration; to be able to bear and to bear with a sense of what is lacking in one’s life. And not simply because frustration makes satisfaction possible in the way that hunger can make a meal delicious. But because frustration and satisfaction do not only or always have a logical, a causal, a pragmatic relationship with one another. Or to put it rather more obviously, what we are lacking when we are unhappy is not always happiness, any more than what an alcoholic is lacking is a drink. And proposing a right to the pursuit of happiness may seduce us, by a kind of word-magic, into thinking that happiness is just the thing.

It is of interest that when Winnicott writes about deprivation in children he too talks about rights. “Let us consider the meaning of the anti-social act,” he writes in a paper called “The Deprived Child”: “for instance, stealing. When a child steals what is sought . . . is not the object stolen; what is sought is the person, the mother from whom the child has the right to steal because she is the mother. In fact every infant at the start can truly claim the right to steal from the mother because the infant invented the mother, thought her up, created her out of an innate capacity to love.”

For Winnicott, the child makes the mother he needs and gradually, through disillusionment and hatred, disentangles her, to some extent, from the mother she happens to be. But it is “the mother from whom the child has the right to steal because she is the mother” that I want to consider. Because the thing stolen is not quite or even nearly the thing wanted – which is not a thing, but a mother – it can never satisfy. What we have is a picture of the right to pursue happiness getting stuck, something I think it is prone to do; as though there is something about the pursuit of happiness that sponsors and endorses addiction. In this sense, consumer capitalism is a system tailor-made for deprived children.

The theft requires communicable translation; it requires, as it were, someone to be able to say, or otherwise communicate what it is that is really being pursued. In Winnicott’s declaration the child has a right to the pursuit of a mother to get what he needs for his development. He is entitled to a mother; she belongs to him in the sense that his own development belongs to him. A good-enough mother or parents might give you the wherewithal for your pursuit of happiness; they might have backed your desire, helped you to believe in and not only be fearful of your pleasures. But it is more complicated than this. Lives are not the kind of things that can be guaranteed by mothers. And this is where the idea of a right to pursue one’s own happiness becomes more interesting.

Do children want to be happy? And if they don’t want to be happy what else might they want to be? This would seem to be of some importance because they are growing up in a world in which their parents mostly want them to be happy, or at least don’t like them being unhappy, admittedly for a variety of different reasons. And by a world I mean the particular cultures for whom happiness has become the preferred object, or the preferred fetish. Children are supposed to be anti-depressants for their parents.

Happiness is something parents often demand of their children; we, as we say, want our children to be happy; we were once children who’s parents wanted us to be happy. And that means the whole spectrum, from not being a worry to them, not making their lives more difficult, being curative of their woes, to the pleasure our parents could take in our pleasure and our wellbeing. We are more dependent on our children than they are on us; and we are dependent, in brief, on their happiness. What makes the child happy is not going to be unlinked to what makes the parents happy. Clearly if a parent lives as if their child has a right to happiness, or a right to its pursuit, and that they are the guardians of this right, they are going to have a difficult, an even more difficult, task on their hands. Lovers often feel that they should be making each other happy when they are in fact making themselves a problem to each other.

So by way of conclusion I want to suggest that a right to the pursuit of happiness is asserted when a capacity for absorption has been sabotaged, when there is a loss of confidence in people’s passions. Happiness becomes important when the possibility for absorption is under threat. That the child does not want to be happy – or perhaps, more exactly, the child doesn’t want only to be happy – the child wants first to be safe, and then to be absorbed. There are, for example, only two reasons for children to go to school – apart, that is, from acquiring the werewithal to earn a living: to make friends, and to see if they can find something of absorbing interest to themselves.

There is an interesting moment in Lord of the Flies when Henry, one of the “littluns”, wanders away from the main group of children. “He went down to the beach and busied himself at the water’s edge.” William Golding writes: “There were creatures that lived in this last fling of the sea, tiny transparencies that came questing in with the water over the hot, dry sand. With impalpable organs of sense they examined this new field. Perhaps food had appeared where the last incursion there had been none . . . This was fascinating to Henry. He poked about with a bit of stick, that itself was wave-worn and whitened and a vagrant, and tried to control the motions of the scavengers . . . He became absorbed beyond mere happiness as he felt himself exercising control over living things.”

The adult narrator can see Henry as in some way identified with these rudimentary scavengers; and the narrator intimates that without adults the children feel how much is out of control or under-controlled. And then there is the remarkable sentence: “He became absorbed beyond mere happiness as he felt himself exercising control over living things.” He feels himself exercising control, but he is not, and his absorption is beyond, in excess of, mere happiness. Something else is wanted more than happiness by Henry, and it seems to be the exercise of control over living things, one of which is himself. It would be easy, and partly true, to say that what Henry is absorbed by here, what is beyond mere happiness, is power, control over living things. But Golding is clear about two things; it is an illusion of power – Golding refers to Henry having “the illusion of mastery” – and it is also the absorption itself that is beyond mere happiness. “He became absorbed beyond mere happiness.” It is an illusion that absorbs him beyond happiness; in other words, he is playing. Absorption is not in and of itself a moral good; in the novel the tyrannical, sadistic Jack absorbs the attention of a lot of the children who do his bidding. But in proposing, in the context of the novel, that there is a beyond to mere happiness, something else or further that is wanted; and that indeed happiness may be a poor substitute for something else, that happiness may be something that can get in the way of whatever is beyond it; by proposing this Golding is saying something about what can override the pursuit of happiness, and what may be lost in its pursuit. For better and for worse, being able to feel our frustration is the precondition for becoming absorbed. When this is impossible the pursuit of happiness tends to take over. The right to pursue happiness may be, at its worst, the right not to feel frustrated. And if frustration is not allowed to take its course, to take its time, there is no absorption, only refuges from unhappiness. The child is fobbed off with happiness when what she really wants is to get her appetite back. The right to the pursuit of happiness can be a cover story for the wish to hide.

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Under the Sun: The Letters of Bruce Chatwin

Bruce Chatwin’s letters are as much a performance as anything else he wrote, says Blake Morrison

Does anyone read Bruce Chatwin these days? His friend and biographer Nicholas Shakespeare reports a conversation in Australia in 2001, when a young journalist asked: “Who was Bruce Chatwin?” And another generation has since emerged who are even less likely to have heard of him.

In the late 80s, such a fate would have been unthinkable. Blond, good-looking and charismatic, Chatwin was at the height of his reputation. The Songlines (17 years in the making) topped the bestseller list in 1987; Utz (completed in a few months) was shortlisted for the Booker prize in 1988. His mysterious death the following year, at 48, only added to the allure. Tom Maschler, who also published Salman Rushdie, Ian McEwan and Martin Amis, thought him a greater talent than any of them.

Why has Chatwin’s star faded so quickly? Allegations of coldness, snobbery, humourlessness and fabrication haven’t helped. Nor have the disavowals of those, like Barry Humphries, who were once his friends. Shakespeare is baffled, nevertheless, that a man whose work was a precursor of the internet – “a connective superhighway without boundaries” – should have fallen into neglect. His hope is that this collection of letters – put together with Chatwin’s widow, Elizabeth – can turn things round.

“Chatwin’s correspondence reveals much more about himself than he was prepared to expose in his books,” he says. Elizabeth agrees: “The letters are the only unreworked writing of his.” An unguarded writer certainly ought to be a more knowable writer. But Chatwin enjoyed being an enigma (”I don’t believe in coming clean”), and his letters are as much a performance as anything else he wrote, just less polished. When he does let the mask slip to reveal, for example, how eager a socialite he was (”lunch with Noël Coward on Friday”, “Escorting Mrs Onassis to the opera next Thursday”), the effect isn’t very endearing. Born in a well-to-do Midlands family, Chatwin was sent to boarding school at the age of seven, and the first letters here, to his parents, date from that time. Though he was no precocious literary talent, there are already signs of his consuming passions: a demand for a Romany travel book and an anthology called The Open Road at eight; enthusiasm for a film about Australian cattle-drivers; and later, at 17, the purchase of a Louis XVI chair. More surprising is his talent for boxing. But then Chatwin was always tougher than he appeared, not least in matters of the heart.

He was a tough bargainer, too, “a rather hard-nosed business pro”, as he put it; that and his love of objets d’art made Sotheby’s a logical career choice. He worked there for seven years, travelling widely while he did. When he isn’t gushing over his latest acquisition, his idiom might be that of any other gilded youth. “Had an amusing time in Paris & Rome”; “Weather marvellous”; “This island is absolute paradise”. Only in an account of a trip to Afghanistan is there a hint that travel writing might be his forte.

It was at Sotheby’s that he met Elizabeth. He proposed to her in Paris, in the Louvre, a romantic gesture. But there isn’t much romance in the letter he sent telling a friend about it (”The deed is done and in about three months I’ll no longer be a free man”), or in his letters to Elizabeth herself: “My dearest Liz” is about as amorous as he gets. “You do not find pining lovers among the Gypsies,” he once wrote, and even during their engagement his approach was briskly practical: “Give up all this nonsense of a deep freeze, do not deprive me of the pleasure of eating fresh food in its due season,” he urged, letting her know whose job it would be to run the kitchen.

The marriage came as a shock to friends and colleagues, some of whom supposed that the affluence of Elizabeth’s American family must be a factor: as a wedding present, her mother gave them £17,000, enough to buy a Gloucestershire farmhouse set in 47 acres. But Chatwin himself wasn’t poor, and his friends were full of largesse (”We are invited to Glenveagh for the stalking in Oct. Or would you prefer Sir James Dundas’s fishing lodge opposite Mull?”). Perhaps the real attraction was the emotional security she offered: like his mother, she loved listening to the stories he told when he returned from gallivanting about the globe. “People used to ask me how I felt about his endless absences from home,” she writes, “but I knew he was working; he had to be free.”

Within a year of marrying he’d quit Sotheby’s to read archaeology at Edinburgh University: “Change is the only thing worth living for,” he explained, before abandoning the degree halfway through. He couldn’t stick anywhere for long, not even London: “I find it fine for three weeks, but thereafter WHAT IS THERE TO DO?” Until Francis Wyndham found Chatwin a place on the Sunday Times magazine he was (as one friend put it) a compass without a needle. He left that job, too, after three years. But in the meantime he learned to write. “He is running away from himself by travelling,” his archaeology professor, Stuart Piggott, wrote. But in running away Chatwin was also being true to himself and true to his vision of the nomadic nature of human beings. Travel didn’t mean roughing it or embracing an alternative lifestyle. “I am fed [sic] to the back teeth by happy hippie hashish culture (jail is the answer),” he wrote, dismissing 60s dropouts as mere vagrants. He was a home-owner, after all, with a country farm and a London flat, and when travelling he liked to be put up in style: whether Tuscan towers, Greek villas or Indian palaces didn’t matter so long as he was properly catered for. “When’s lunch?” he’d ask, and when he moved on would offer some token sum to cover his expensive telephone bills.

More serious offence was caused when he stayed with his cousin Monica in Peru and copied pages of her father’s journal for his book In Patagonia; he claimed, with some justice, that she had given him permission, but he knew a good story when he saw it and wasn’t altogether frank in telling her how much of it he’d lifted.

By 1980, Elizabeth’s patience with him had also worn thin (”I was furious with him, totally fed up and exasperated that he took me for granted”) and they separated. How much she knew of his affairs with men isn’t touched on. Nor do we learn anything about them here: his letters to lovers were either destroyed, or were never written, or where they’ve survived are blandly circumspect. Sex is the great void here, along with passion. Which isn’t to say that Chatwin lacked feelings: his grief at the death of his friend Penelope Betjeman was genuine, as was his attachment to his parents. As for Elizabeth, theirs has not been an easy marriage, he told her mother, “but it survives everything because neither of us has loved anyone else”.

In 1986 he was diagnosed with Aids. In letters to friends he claimed to have caught a rare fungus of the bone marrow “known only among 10 Chinese peasants and the corpse of a killer whale cast up on the shores of Arabia”. Much less was known about Aids in those days, and Chatwin was desperate to protect his parents from the truth. But what also terrified him was the thought of dying a stereotypical death, one that would identify him as just one more casualty of the Aids epidemic. His frantic tales about killer whale corpses or fungal dust inhaled in a Yunnan bats’ cave were a way of exoticising himself, much as his books exoticise the places he visited and the people he met.

At best, a disdain for ordinariness strengthens his writing. But at worst it just seems silly, as when he reports what he’s been up to in Patagonia: “I have sung ‘Hark the Herald Angels Sing’ in Welsh . . . I have dined with a man who knew Butch Cassidy . . . I have discussed the poetics of Mandelstam with a Ukrainian doctor missing both legs.” Would discussing Mandelstam with someone who isn’t a double-amputee be any less interesting? For Chatwin, clearly, it would.

This is a handsome book, full of informative passages from Shakespeare, illuminating quotes from friends and wonderfully laconic and deflating footnotes from Elizabeth. But the Chatwin who wrote the letters is no truer or more candid than the Chatwin who wrote travel books and fiction. And the books are more engaging and more alive.

Blake Morrison’s The Last Weekend is published by Chatto & Windus.

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