Keiron Pim | The Spectator columnists & writers

What young Ukrainians will learn from reading Joseph Roth

As Russia’s assault on Ukraine continues, Volodymyr Zelensky’s ministry of education has just announced changes to the national curriculum that include removing almost all the Russian authors on the foreign literature syllabus. In last week’s Spectator, Svitlana Morenets revealed the new names: we see Robert Burns, whose inclusion may be a nod to Britain’s support during the conflict. Then there is Joseph Roth, a master of German prose, whose writing about interwar Europe speaks to Ukraine’s modern upheavals. Roth was born in 1894 in Brody, a town that now stands in western Ukraine but then lay in what was known as Galicia, the eastern Austro--Hungarian crownland. He left as soon as he could and rarely returned, but wrote about it from afar with increasing nostalgia until he drank himself to death on the eve of the second world war.

Joy, fear and regret in contemporary Britain

For two and a half years, as Britain adjusted from normality to the most disorienting collective trauma of our lifetimes, Will Ashon trawled the country for strangers’ stories. He wrote letters to random addresses, went hitchhiking, talked to the drivers and followed chance connections in pursuit of glimpses into other people’s lives. Once they had consented to speak, he asked some to tell him a secret and others to answer a question from a list. The resulting anonymous confessions, reminiscences, philosophical reflections and anecdotes were obtained via interviews, emails or voice recordings. They form a quietly remarkable study of the state of the nation, in which fragments piece together into a mosaic portrait of Britain’s soul, with all its dreams, regrets, fears, joys and private vulnerabilities.

It’s not the dark hours the insomniac dreads but the clear light of day

The insomniac may come to dread the night’s solitude, but the next day poses the greater challenge. That’s when you are obliged to walk among the rested population and pass for one of them, when in truth most interactions are conducted in a state of self-doubting confusion; when harnessing one’s thoughts is like grabbing at shadows; the right words, if found, won’t cohere into fluent sentences; and dark intrusions from the subconscious flicker up and distract from whichever simple task you’re attempting to complete. The novelist Samantha Harvey’s first memoir examines a year spent in this condition. It is littered with sharp insights expressed in exquisitely lucid prose but is as amorphous as its title suggests — which is fitting, given how sleep-deprivation distorts our mental framework, revealing the flimsiness of the cognitive structures built by the dormant mind.

Satire and self-deprecation

If you’re Jewish, or Jew-ish, or merely subscribe to the view that Jews should be trusted to recognise anti-Semitism rather than be accused of making false allegations to further their own malign agenda, the chances are you could do with a laugh right now. The resurgent far right’s threat feels frightening but expected, whether from torch-waving American mobs or European ethno-nationalists directing the restive masses’ anger towards the traditional target, presently embodied by George Soros. More dismaying for many have been the myriad controversies involving putative anti-racists: for instance, the Momentum activist who claimed that Jews were the slave trade’s ‘chief financiers’ and rank their suffering above other oppressed minorities’; or the Bradford council candidate selected last week who once asked on Facebook: ‘What have the Jews done good in this world?’; or the group of Labour conference delegates leafleting against the NEC’s proposal for tackling anti-Semitism, who saw an identifiably Jewish stranger approaching and turned their backs on him.

In a dark forest

In his mid-forties Will Ashon realised he was adrift and confused, confronted by the situation Dante described in the Divine Comedy: ‘In the middle of our life’s path/ I found myself in a dark forest.’ Ashon’s dark forest was metaphorical to begin with — conscious of ageing, dis-satisfied with his career in the music industry, wondering where to turn — but it became literal as he sought answers by exploring Epping Forest, the vast ‘shadow of London’ near his home in Walthamstow. Strange Labyrinth takes its title from a beguiling sonnet by the Jacobean author Lady Mary Wroth, who lived at nearby Loughton Hall, and charts Ashon’s twisting, sometimes perplexing but, by the end, deeply satisfying exploration of the intellectual terrain covered by artists, writers and performers who share a connection to this place.

For king and countryside

In July 1915 the poet Edward Thomas enlisted as a soldier with the Artists’ Rifles, even though, at the age of 37, he had no obligation to do so. When his friend Eleanor Farjeon asked why, he scooped up a handful of earth and replied: ‘Literally, for this.’ John Lewis-Stempel’s new book is persuasive that Thomas and his contemporaries’ love of the natural world informed both their motivation to fight and their conduct during the first world war. Theirs was the prelapsarian Britain of Thomas’s poem ‘Adlestrop’, which records a brief, unscheduled halt aboard a steam train on a hot June afternoon in 1914: peaceful, inviolate, chiming with birdsong, loved and understood by a generation of young men who knew willowherb from meadowsweet.

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