James Wood

For someone growing up with the music of Benjamin Britten, it was sometimes hard to recall that his last name was not ‘Britain’. The race that Nietzsche had deemed heavy-hoofed and unmusical, whose last truly great composer had been Purcell, a nation that had been doing nothing very much, musically, but warbling in cathedrals for a couple of centuries, had somehow managed to produce a 20th-century composer of international stature, whose last name was that of the nation itself.

Henry James was foul about Far from the Madding Crowd when it appeared in 1874. He was a young writer, ambitious, seething, silkily aggressive. There was ground to be cleared, and residents had to be deported. Thomas Hardy, with his knobbly rusticities and merry peasants, would not do. In the Nation, James complained that the novel had a ‘fatal lack of magic’, and was written in a ‘verbose and redundant style … Everything human in the book strikes us as factious and insubstantial; the only things we believe in are the sheep and the dogs.’

In the summer of 1967, a man who remains unnamed but who resembles the author W.G. Sebald is visiting Belgium. At the Centraal Station in Antwerp, he sees a fellow traveller, with fair, curiously wavy hair, who is wearing heavy walking boots, workman’s trousers made of blue calico and a well-made but antiquated jacket. He is intently studying the room and taking notes. This is Jacques...

Last year, my father-in-law died. He was a complicated, difficult, intelligent man; the obituary-ese would be ‘colourful’. On occasion, when he was alive, I wanted him to go to hell. But when I sat at his deathbed, and looked at the body from which life had ebbed, I couldn’t help marvelling at the longevity, persistence and garish exuberance of the concept of the afterlife....

All fictions are closed worlds, smaller than our own, and so it is not surprising that novelists are often drawn to represent very small worlds – boarding houses, hotels, a plague-sealed town, a single day in a prison, a bare room. These reduced spaces intensify the fictionality that made them: they are as bound as a book. Depending on the intensity of the reduction, plot slows down to...