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Books : Fiction : Contemporary Fiction: 1970 Onwards : Authors A-Z : H : Hensher, Philip
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Gathering three of Nancy Mitford's most famous works --The Pursuit of Love and The Blessing are included here alongside Love In A Cold Climate--this collection is the perfect introduction to a writer of great wit and charm, a singular voice in modern English prose whose themes are deeper and more profound than brief acquaintance might suggest. The first two novels, especially Pursuit..., are semi-autobiographical: the Radletts of Alconleigh are portraits of Mitford's own eccentric clan, while she herself appears as Fanny, a family cousin and the novels' narrator. The irrepressible, precocious Radletts provide many of the early instances of Mitford's deliciously wicked humour:There was much worse drama when Linda, aged twelve, told the daughters of neighbours, who had come to tea, what are supposed to be the facts of life. Linda's presentation of the "facts" had been so gruesome that the children left Alconleigh howling dismally, their nerves permanently impaired, their future chances of a sane and happy sex life much reduced.
Following the amorous trajectories of Linda Radlett and of Polly Hampton, the first two books here are at once extremely funny and deeply serious, delineating the possibilities for love in a world circumscribed by the formal expectations and conventions of marriage. Mitford's heroines dramatise the search for a true or ideal relationship, regardless of social institutions or sexual orientation. If her casual attitude to adultery and, particularly, her portrait of Cedric--a gay character who is charming, flirtatious, and above all happy--resulted in her work being vilified by contemporaries for its "decadence" and "immorality", her exploration of female sexuality seems now to be resolutely modern, arguing the right to happiness and fulfilment.Nancy Mitford's considerable literary output--biography, journalism, translation, fiction--has been somewhat eclipsed by the biographical extravagance of her extraordinary family: her sisters Unity and Diana (the wife of Sir Oswald Mosley) were enthusiastic fascists who notoriously cultivated the friendship of Adolf Hitler; another sister, Jessica, ran away to America and became a left-wing journalist, later writing The American Way of Death. Her case has not been helped by her subject-matter, for the milieu of the wealthy upper classes and their deep-rooted snobbishness and casual bigotry is one that might easily repel a reader who misses the irony, satire and the surfacing of darker concerns that characterise the books. A shame, for she is one of the true originals of modern English writing. --Burhan Tufail
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Award-winning novelist Philip Hensher announces a radical departure from his earlier books with The Mulberry Empire, an extraordinarily ambitious, sprawling historical epic that deals with the route of the British from Afghanistan in the late 1830s. Hensher has established a reputation as a waspish commentator on contemporary English and European life in previous novels like Pleasured, but in The Mulberry Empire he draws on an earlier tradition of Kipling, Trollope and Conrad to recreate the moment at which the early 19th century eyed Afghanistan as an addition to its growing Asian Empire.The novel begins in Kabul with the arrival of Burnes, an ambitious young Scot, eager to open up the country to the English. News of his arrival soon reaches the Amir, for whom "the arrival of the new European in town was like the dropping of a rock into the opaque pool of water which was the city, ruffling the surface immediately in ordinary and predictable ways, but disturbing the substance and mass beneath in a manner which could not be seen, or predicted". Hensher then weaves his story between Burnes' return to London, his romance with the daughter of an opium-addicted hero of Trafalgar, the Amir's court, encounters with Carlyle and Palmerston, and the bloody "Great Game" of imperial politics that catapults the novel into the murderous events with which its culminates. Hensher's novel takes on added significance following the events of September 11, but ultimately he is unable to control the vastness of his historical canvas. At times the book unwittingly reads like a parody of the purple colonial prose of Rider Haggard, and many of its descriptions of Afghanistan and its people are painfully exotic and orientalist. Hensher should be applauded for extending his novelist range, but not for the results. --Jerry Brotton
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Philip Hensher has been described as "the waspish wonder boy" of English fiction, following the publication of Kitchen Venom and Pleasured. In The Bedroom of the Mister's Wife Hensher proves that he is also rapidly mastering the art of short story writing. The14 stories gathered together in this collection are remarkable for the sheer range of voices, places, moods and tones that Hensher is able to capture in his elegant and seemingly effortless prose. These are acutely observed vignettes of the sheer strangeness of people's lives and their invariably failed attempts to communicate meaningfully with other people.The opening story sets the Chekhovian tone of the collection, with its account of the strange relationship between a failed painter and his faded Russian émigré landlady, whose attempts at finery leave her looking "like a slow-motion photograph of an explosion in a dairy". In subsequent stories London in the shadow of Thatcherism, ghosts on the internet, 1970s German terrorism, rogue Tory MPs on the loose in Europe and maps of gay life in London all come under Hensher's intense, acerbic and comical gaze. A man draws "a chart of who'd slept with who" with disastrous consequences; a widowed academic has a ghostly experience as he learns the joys of e-mail, "the magical compressor of distance, the instantaneous traveller"; a man wakes up to find himself in a room in Istanbul with a naked man, a briefcase full of money, a sore head and a growing realisation that "the worst thing in the world" awaits him just beyond the door. Hensher is the master of exploring how ordinary events can suddenly engulf peoples lives in extraordinary ways, and then become familiar once again through sheer habit. There is great pathos in these stories of the domestic, intimate minutiae of people's attempts to communicate with others amidst the noise of modern life. This is an absorbing collection. --Jerry Brotton
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Award-winning novelist Philip Hensher announces a radical departure from his earlier books with The Mulberry Empire, an extraordinarily ambitious, sprawling historical epic that deals with the route of the British from Afghanistan in the late 1830s. Hensher has established a reputation as a waspish commentator on contemporary English and European life in previous novels like Pleasured, but in The Mulberry Empire he draws on an earlier tradition of Kipling, Trollope and Conrad to recreate the moment at which the early 19th century eyed Afghanistan as an addition to its growing Asian Empire.The novel begins in Kabul with the arrival of Burnes, an ambitious young Scot, eager to open up the country to the English. News of his arrival soon reaches the Amir, for whom "the arrival of the new European in town was like the dropping of a rock into the opaque pool of water which was the city, ruffling the surface immediately in ordinary and predictable ways, but disturbing the substance and mass beneath in a manner which could not be seen, or predicted". Hensher then weaves his story between Burnes' return to London, his romance with the daughter of an opium-addicted hero of Trafalgar, the Amir's court, encounters with Carlyle and Palmerston, and the bloody "Great Game" of imperial politics that catapults the novel into the murderous events with which its culminates. Hensher's novel takes on added significance following the events of September 11, but ultimately he is unable to control the vastness of his historical canvas. At times the book unwittingly reads like a parody of the purple colonial prose of Rider Haggard, and many of its descriptions of Afghanistan and its people are painfully exotic and orientalist. Hensher should be applauded for extending his novelist range, but not for the results. --Jerry Brotton
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Ten years after the fall of the Berlin Wall, Philip Hensher's third novel, Pleasured is perhaps the finest literary response to one of the most momentous events of the post-war period. Set in Berlin months before the fall of the Wall, it follows the lives of a disparate collection of characters, centring on Friedrich Kaiser, a Generation X slacker living in the hedonistic atmosphere of Kreuzberg in West Berlin. Hitchhiking back to Berlin from Cologne over New Year, Friedrich strikes up an unlikely relationship with the mysterious, rotund Peter Picker and Daphne, a wannabe urban terrorist. As Friedrich's incongruous relationship with Picker blossoms, they hatch an unlikely plan to free East Berlin from its Stalinist grip through the introduction of a little joy in the shape of a bag of Ecstasy.Pleasured will undoubtedly draw comparisons with Christopher Isherwood's Goodbye to Berlin, with its brilliant evocation of 80s Berlin and the frustration and ennui which defines its comical, degenerate and often desperate collection of characters. Like Isherwood's novel Hensher vividly captures the Zeitgeist of Germany's painful reunification and the personal impact which the fall of the Wall had in both the East and the West. However, Pleasured is more than a meditation on the state of the German nation. It is also a wickedly observed comedy of manners, embracing drugs, terrorism, childhood, fatherhood and the vicissitudes of sexual identity in a series of elegantly drawn portraits and set pieces. Effortlessly written and beautifully structured, this is a great novel, which confirms Hensher as one of the finest novelists currently writing in English. -- Jerry Brotton
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Philip Hensher has been described as "the waspish wonder boy" of English fiction, following the publication of Kitchen Venom and Pleasured. In The Bedroom of the Mister's Wife Hensher proves that he is also rapidly mastering the art of short story writing. The14 stories gathered together in this collection are remarkable for the sheer range of voices, places, moods and tones that Hensher is able to capture in his elegant and seemingly effortless prose. These are acutely observed vignettes of the sheer strangeness of people's lives and their invariably failed attempts to communicate meaningfully with other people.The opening story sets the Chekhovian tone of the collection, with its account of the strange relationship between a failed painter and his faded Russian émigré landlady, whose attempts at finery leave her looking "like a slow-motion photograph of an explosion in a dairy". In subsequent stories London in the shadow of Thatcherism, ghosts on the internet, 1970s German terrorism, rogue Tory MPs on the loose in Europe and maps of gay life in London all come under Hensher's intense, acerbic and comical gaze. A man draws "a chart of who'd slept with who" with disastrous consequences; a widowed academic has a ghostly experience as he learns the joys of e-mail, "the magical compressor of distance, the instantaneous traveller"; a man wakes up to find himself in a room in Istanbul with a naked man, a briefcase full of money, a sore head and a growing realisation that "the worst thing in the world" awaits him just beyond the door. Hensher is the master of exploring how ordinary events can suddenly engulf peoples lives in extraordinary ways, and then become familiar once again through sheer habit. There is great pathos in these stories of the domestic, intimate minutiae of people's attempts to communicate with others amidst the noise of modern life. This is an absorbing collection. --Jerry Brotton
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Philip Hensher's third novel is set in the divided city of Berlin in the late 1980s. The novel opens with shiftless young protagonist Friedrich and half-hearted terrorist Daphne ambling through their ineffectual lives. Then along comes the mysterious Englishman, Mr Picker, with a plan to flood East Berlin with ecstasy tablets. The theory is that the importation of pleasure will hasten the course of history and liberate the downtrodden easterners from their servitude. It is a bizarre and frankly unlikely plot device, but it does seem to work in the context of this unsettling and astutely realized novel. The many variants of divisiveness--city, country and continent as well as a myriad of psychological versions--are slyly revealed. Philip Hensher caused a literary stir when the publication of his novel about the fall of Margaret Thatcher, Kitchen Venom, precipitated his sacking from his job as a clerk at the House of Commons. This novel may be set on a larger political stage but is equally sharp on a febrile, closed world--Westminster then, East Berlin just before the wall came down here--and Hensher's wonderful facility for observing half-hidden human motivations and frailties ensure that this absorbing book will further enhance his reputation as one of the most thoughtful of contemporary novelists. --Nick Wroe
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Philip Hensher has been described as "the waspish wonder boy" of English fiction, following the publication of Kitchen Venom and Pleasured. In The Bedroom of the Mister's Wife Hensher proves that he is also rapidly mastering the art of short story writing. The 14 stories gathered together in this collection are remarkable for the sheer range of voices, places, moods and tones that Hensher is able to capture in his elegant and seemingly effortless prose. These are acutely observed vignettes of the sheer strangeness of people's lives and their invariably failed attempts to communicate meaningfully with other people.The opening story sets the Chekhovian tone of the collection, with its account of the strange relationship between a failed painter and his faded Russian émigré landlady, whose attempts at finery leave her looking "like a slow-motion photograph of an explosion in a dairy". In subsequent stories London in the shadow of Thatcherism, ghosts on the internet, 1970s German terrorism, rogue Tory MPs on the loose in Europe and maps of gay life in London all come under Hensher's intense, acerbic and comical gaze. A man draws "a chart of who'd slept with who" with disastrous consequences; a widowed academic has a ghostly experience as he learns the joys of e-mail, "the magical compressor of distance, the instantaneous traveller"; a man wakes up to find himself in a room in Istanbul with a naked man, a briefcase full of money, a sore head and a growing realisation that "the worst thing in the world" awaits him just beyond the door. Hensher is the master of exploring how ordinary events can suddenly engulf peoples lives in extraordinary ways, and then become familiar once again through sheer habit. There is great pathos in these stories of the domestic, intimate minutiae of people's attempts to communicate with others amidst the noise of modern life. This is an absorbing collection. --Jerry Brotton
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Ten years after the fall of the Berlin Wall, Philip Hensher's third novel, Pleasured is perhaps the finest literary response to one of the most momentous events of the post-war period. Set in Berlin months before the fall of the Wall, it follows the lives of a disparate collection of characters, centring on Friedrich Kaiser, a Generation X slacker living in the hedonistic atmosphere of Kreuzberg in West Berlin. Hitchhiking back to Berlin from Cologne over New Year, Friedrich strikes up an unlikely relationship with the mysterious, rotund Peter Picker and Daphne, a wannabe urban terrorist. As Friedrich's incongruous relationship with Picker blossoms, they hatch an unlikely plan to free East Berlin from its Stalinist grip through the introduction of a little joy in the shape of a bag of Ecstasy.Pleasured will undoubtedly draw comparisons with Christopher Isherwood's Goodbye to Berlin, with its brilliant evocation of 80s Berlin and the frustration and ennui which defines its comical, degenerate and often desperate collection of characters. Like Isherwood's novel Hensher vividly captures the Zeitgeist of Germany's painful reunification and the personal impact which the fall of the Wall had in both the East and the West. However, Pleasured is more than a meditation on the state of the German nation. It is also a wickedly observed comedy of manners, embracing drugs, terrorism, childhood, fatherhood and the vicissitudes of sexual identity in a series of elegantly drawn portraits and set pieces. Effortlessly written and beautifully structured, this is a great novel, which confirms Hensher as one of the finest novelists currently writing in English. -- Jerry Brotton
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