James Ley

On 21 July 2021, one of the world’s richest men, Amazon founder Jeff Bezos, staged a press conference in the small town of Van Horn, Texas, the purpose of which was to boast about his recent ten-minute joy ride into space atop a rocket so comically penis-shaped that one could be forgiven for thinking that the whole exercise was intended as an outrageously expensive joke, albeit one that Mel Brooks would likely have rejected for its lack of subtlety.

Colm Tóibín’s eleventh novel, The Magician, is a dramatisation of the life of Thomas Mann. It begins in 1891 with the death of Mann’s father, a successful businessman from the north German city of Lübeck, whose last agonised words to his fifteen-year-old son are, ‘You know nothing.’ It ends in 1950, five years before Mann’s death at the age of eighty, when he returns to Europe after a long period of exile in the United States, by which time he is one of the century’s greatest novelists and a respected public intellectual. Cop that, dad.

The first essay in Christopher Ricks’s Along Heroic Lines is the text of his inaugural lecture as Professor of Poetry at Oxford, an honorary post he held from 2004 to 2009. He takes as his subject the formal distinction between poetry and prose. If one is going to be a professor of poetry, the least one can do is arrive at a satisfactory definition of one’s object of study. To this end, Ricks summons to the witness stand an august procession of English poets and critics – Samuel Johnson, Samuel Taylor Coleridge, Matthew Arnold, Alfred Tennyson, W.H. Auden, A.C. Bradley – and considers their authoritative pronouncements on the matter, only to arrive at the inconvenient conclusion that a strict line of demarcation is difficult to sustain.

Harold Bloom died in 2019 at the age of eighty-nine. Always prolific, he continued working until the very end. Throughout his final book, he digresses at regular intervals to record the date, note his advanced age, and allude to his failing health. At one point, he reveals that he is dictating from a hospital chair.

The Living Sea of Waking Dreams begins, self-consciously, at the limits of language. Its opening pages are rendered in a prose style that is fragmented and contorted. Sentences break down, run into each other. Syntax is twisted into odd shapes that call into question the very possibility of meaning. Words seem to arrive pre-estranged by semantic satiation in a way that evokes Gertrude Stein or Samuel Beckett at their most opaque: ‘As if they too were already then falling apart, so much ash and soot soon to fall, so much smoke to suck down. As if all that can be said is we say you and if that then. Them us were we you?’