Monday, 9 February 2009

The Guardian's 1,000 Books You Must Read

Lists are all the fashion these days. This being the last year of the noughties, you can expect them popping up all over the place between now and December 31st, each aiming to sacralise key cultural artefacts for posterity. Top 10 choons, footy moments, TV series, celebrity sex tapes ...

But for sheer size, few lists come bigger than this mutha. The publishing industry midwifed the first top 100 books ever-type lists into the world to mark the turn of the millennium. Not to be outdone, the BBC in their worthy (and actually, very worthwhile) book campaign, the
Big Read compiled another top 100 of best-loved books on the back of a mammoth poll. It was shamelessly populist too - Harry Potter was listed five times and the likes of Terry Pratchett, Jean M Auel and Rosamund Pilcher all made the grade. It was enough to put a literary snob's nose out of joint. They hit back in 05 and 06 with two editions of the gargantuan 1,001 Books You Must Read Before You Die. Despite the odd dodgy entry and omission in this new canon (Ardal O'Hanlon anyone?) it is a book bore's dream. All titles were selected by "experts", and presumably were judged solely by literary value.

Three years on it's now
The Graun's turn. Their 1,000 Novels Everyone Must Read strikes a balance between populism and snobbery. Graun hacks had a lunch time brainstorm and came up with a list that was trimmed by literary authorities, leaving a huge catalogue of books that ticks the high and popular culture boxes.

Here is that list, alphabetised according to author. Because it is so massive I won't be tagging anyone, so meme it at your own risk!

To show off my accumulation of literary capital (or, rather, the lack thereof) the books I've read are put in bold, and those that grace the shelves of the BC household are in italics. For me it's 293 read and 240 gathering dust on our bookcases. What's your tally?


The Face of Another by Kobo Abe
Things Fall Apart by Chinua Achebe
Anthills of the Savannah by Chinua Achebe

The Hitchhikers Guide to the Galaxy by Douglas Adams
Silver Stallion by Junghyo Ahn
Le Grand Meaulnes by Henri Alain-Fournier

Little Women by Louisa May Alcott
Death of a Hero by Richard Aldington
Non-Stop by Brian W Aldiss
The Man with the Golden Arm by Nelson Algren
Fantomas by Marcel Allain and Pierre Souvestre
The Mask of Dimitrios by Eric Ambler
Epitaph for a Spy by Eric Ambler
Journey into Fear by Eric Ambler
Lucky Jim by Kingsley Amis

Money by Martin Amis
The Information by Martin Amis
London Fields by Martin Amis
Untouchable by Mulk Raj Anand

Foundation by Isaac Asimov
Dom Casmurro Joaquim by Maria Machado de Assis
Behind the Scenes at the Museum by Kate Atkinson
Cat's Eye by Margaret Atwood
The Blind Assassin by Margaret Atwood

The Handmaid's Tale by Margaret Atwood
Northanger Abbey by Jane Austen
Sense and Sensibility by Jane Austen
Pride and Prejudice by Jane Austen

Mansfield Park by Jane Austen

Emma by Jane Austen
Persuasion by Jane Austen

The New York Trilogy by Paul Auster
In the Country of Last Things by Paul Auster
Epileptic by David B
The Bottle Factory Outing by Beryl Bainbridge
According to Queeney by Beryl Bainbridge
Master Georgie by Beryl Bainbridge
Room Temperature by Nicholson Baker
Darkness Falls from the Air by Nigel Balchin

Go Tell it on the Mountain by James Baldwin
Giovanni's Room by James Baldwin

Empire of the Sun by JG Ballard
The Drowned World by JG Ballard
Crash by JG Ballard

Millennium People by JG Ballard
Eugenie Grandet by Honore de Balzac
Le Pere Goriot by Honore de Balzac
La Comedie Humaine by Honore de Balzac
They Were Counted by Miklos Banffy
The Crow Road by Iain Banks

The Wasp Factory by Iain Banks
Consider Phlebas by Iain M Banks

The L Shaped Room by Lynne Reid Banks
Weaveworld by Clive Barker
Darkmans by Nicola Barker
Regeneration by Pat Barker
Nightwood by Djuna Barnes
Flaubert's Parrot by Julian Barnes
A History of the World in 10 1/2 Chapters by Julian Barnes
A Long Long Way by Sebastian Barry
A Kind of Loving by Stan Barstow
Augustus Carp, Esq. by Himself by Henry Howarth Bashford
The Garden of the Finzi-Cortinis by Giorgio Bassani
Love for Lydia by HE Bates
Fair Stood the Wind for France by HE Bates
Carrie's War by Nina Bawden
The Time Ships by Stephen Baxter

Darwin's Radio by Greg Bear
Fun Home by Alison Bechdel

Malone Dies by Samuel Beckett
Molloy by Samuel Beckett

Vathek by William Beckford
A Legacy by Sybille Bedford
Zuleika Dobson by Max Beerbohm
Oroonoko, or The Royal Slave by Aphra Behn
The Adventures of Augie March by Saul Bellow
More Die of Heartbreak by Saul Bellow
Herzog by Saul Bellow
Humboldt's Gift by Saul Bellow
The Uncommon Reader by Alan Bennett
The Old Wives' Tale by Arnold Bennett

Clayhanger by Arnold Bennett
Queen Lucia by EF Benson
Trent's Last Case by EC Bentley
G by John Berger
The Poisoned Chocolates Case by Anthony Berkeley
Extinction by Thomas Bernhard
The Stars My Destination by Alfred Bester
Lorna Doone by RD Blackmore
The Beast Must Die by Nicholas Blake
The Savage Detectives by Roberto Bolano
The Death of the Heart by Elizabeth Bowen
The Heat of the Day by Elizabeth Bowen

The Last September by Elizabeth Bowen
Two Serious Ladies by Jane Bowles
The Sheltering Sky by Paul Bowles
The Ascent of Rum Doodle by WE Bowman
A Good Man in Africa by William Boyd
An Ice-Cream War by William Boyd
Any Human Heart by William Boyd
The History Man by Malcolm Bradbury

Fahrenheit 451 by Ray Bradbury
Lady Audley's Secret by Mary E Braddon
No Bed for Bacon by Caryl Brahms and SJ Simon
Room at the Top by John Braine
When the Wind Blows by Raymond Briggs
A Dry White Season by Andre Brink
Lost Souls by Poppy Z Brite
The Death of Virgil by Hermann Broch

Jane Eyre by Charlotte Bronte
Vilette by Charlotte Bronte
Shirley by Charlotte Bronte

Wuthering Heights by Emily Bronte
Look At Me by Anita Brookner
Wieland by Charles Brockden Brown
Rubyfruit Jungle by Rita Mae Brown

The Thirty-Nine Steps by John Buchan
Greenmantle by John Buchan
Rogue Moon by Algis Budrys

The Master and Margarita by Mikhail Bulgakov
The Coming Race by Egel Bulwer-Lytton

A Clockwork Orange by Anthony Burgess
The End of the World News by Anthony Burgess
Earthly Powers by Anthony Burgess
The Neon Rain by James Lee Burke
The Tin Roof Blowdown by James Lee Burke
The Asphalt Jungle by WR Burnett
Evelina by Fanny Burney
A Princess of Mars by Edgar Rice Burroughs

Naked Lunch by William Burroughs
Kindred by Octavia Butler
Erewhon by Samuel Butler
The Way of All Flesh by Samuel Butler
The Sound of my Voice by Ron Butlin

Possession by AS Byatt
The Virgin in the Garden by AS Byatt
The Postman Always Rings Twice by James M Cain
Double Indemnity by James M Cain
Tobacco Road by Erskine Caldwell
The Baron in the Trees by Italo Calvino
Invisible Cities by Italo Calvino
The Influence by Ramsey Campbell

The Outsider by Albert Camus
The Plague by Albert Camus
Auto-da-Fe by Elias Canetti
Breakfast at Tiffany's by Truman Capote
Oscar and Lucinda by Peter Carey
Illywhacker by Peter Carey
True History of the Ned Kelly Gang by Peter Carey
The Kingdom of this World by Alejo Carpentier
The Hollow Man by John Dickson Carr
A Season in Sinji by JL Carr
The Harpole Report by JL Carr
A Month in the Country by JL Carr
The Hearing Trumpet by Leonora Carrington

Alice's Adventures in Wonderland by Lewis Carroll
Through the Looking Glass and What Alice Found There by Lewis Carroll

Wise Children by Angela Carter
Nights at the Circus by Angela Carter
The Passion of New Eve by Angela Carter
Mister Johnson by Joyce Cary
The Horse's Mouth by Joyce Cary

The Professor's House by Willa Cather
My Antonia by Willa Cather
A Lost Lady by Willa Cather
One of Ours by Willa Cather
Journey to the End of the Night by Louis-Ferdinand Celine

Don Quixote by Miguel de Cervantes
Monkey by Wu Ch'eng-en
The Amazing Adventures of Kavalier and Clay by Michael Chabon

The Big Sleep by Raymond Chandler
The Long Goodbye by Raymond Chandler
No Orchids for Miss Blandish by James Hadley Chase
The Wapshot Chronicle by John Cheever
The Man who was Thursday by GK Chesterton
The Riddle of the Sands by Erskine Childers

The Awakening by Kate Chopin
And Then There Were None by Agatha Christie
The Mysterious Affair at Styles by Agatha Christie
The Murder of Roger Ackroyd by Agatha Christie
The Murder at the Vicarage by Agatha Christie
The Secret Adversary by Agatha Christie
Childhood's End by Arthur C Clarke

Jonathan Strange & Mr Norrell by Susanna Clarke
Les Enfants Terrible by Jean Cocteau
What a Carve Up! by Jonathan Coe
Disgrace by JM Coetzee
Waiting for the Barbarians by JM Coeztee
The Vagabond by Sidonie-Gabrielle Colette
Claudine a l'ecole by Sidonie-Gabrielle Colette
Cheri by Sidonie-Gabrielle Collette

The Woman in White by Wilkie Collins
The Moonstone by Wilkie Collins
Manservant and Maidservant by Ivy Compton-Burnett
The Manchurian Candidate by Richard Condon
Hello Summer, Goodbye by Michael G Coney
The Secret Agent by Joseph Conrad
Under Western Eyes by Joseph Conrad
Victory: An Island Tale by Joseph Conrad

Heart of Darkness by Joseph Conrad
Lord Jim by Joseph Conrad
Nostromo by Joseph Conrad
Sharpe's Eagle by Bernard Cornwell
Postmortem by Patricia Cornwell

Girlfriend in a Coma by Douglas Coupland
Microserfs by Douglas Coupland

The History of Pompey the Little by Francis Coventry
Being Dead by Jim Crace
Quarantine by Jim Crace
The Red Badge of Courage by Stephen Crane
The Andromeda Strain by Michael Crichton
Jurassic Park by Michael Crichton
The Case of the Gilded Fly by Edmund Crispin
Just William by Richmal Crompton
Poetic Justice by Amanda Cross
House of Leaves by Mark Danielewski
Pig Tales by Marie Darrieussecq
The Mandarins by Simone de Beauvoir
The Princess of Cleves by Madame de Lafayette
The Little Prince by Antoine de Saint-Exupery
Roxana by Daniel Defoe

Robinson Crusoe by Daniel Defoe
Moll Flanders by Daniel Defoe

The Ipcress File by Len Deighton
Bomber by Len Deighton
The Provincial Lady by EM Delafield
The Einstein Intersection by Samuel R Delaney

Underworld by Don DeLilloWhite Noise by Don DeLillo
Last Seen Wearing by Colin Dexter
The Remorseful Day by Colin Dexter
Ratking by Michael Dibdin
Dead Lagoon by Michael Dibdin
Dirty Tricks by Michael Dibdin
A Rich Full Death by Michael Dibdin
Vendetta by Michael Dibdin

Do Androids Dream of Electric Sheep? by Philip K Dick
The Man in the High Castle by Philip K Dick

Great Expectations by Charles Dickens
The Pickwick Papers by Charles Dickens
Martin Chuzzlewit by Charles Dickens

A Tale of Two Cities by Charles Dickens
Bleak House by Charles Dickens

Dombey and Son by Charles Dickens
Hard Times by Charles Dickens

Little Dorritt by Charles Dickens
Oliver Twist by Charles Dickens

Deliverance by James Dickey
Jacques the Fatalist and his Master by Denis Diderot
Play It As It Lays by Joan Didion
Camp Concentration by Thomas M Disch
Sybil or The Two Nations by Benjamin Disraeli
Berlin Alexanderplatz by Alfred Döblin
The Book of Daniel by EL Doctorow
A Fairy Tale of New York by JP Donleavy

Crime and Punishment by Fyodor Dostoevsky
The Brothers Karamazov by Fyodor Dostoevsky
Notes from the Underground by Fyodor Dostoevsky

The Idiot by Fyodor Dostoevsky
USA by John Dos Passos
Three Soldiers by John Dos Passos
My New York Diary by Julie Doucet
South Wind by Norman Douglas

A Study in Scarlet by Arthur Conan Doyle
The Hound of the Baskervilles by Arthur Conan Doyle
The Sign of Four by Arthur Conan Doyle

The Commitments by Roddy Doyle
The Millstone by Margaret Drabble
An American Tragedy by Theodore Dreiser

Sister Carrie by Theodore Dreiser
My Cousin Rachel by Daphne du Maurier
The Parasites by Daphne du Maurier
Rebecca by Daphne du Maurier

The Count of Monte Cristo by Alexandre Dumas
The Three Musketeers by Alexandre Dumas
The Lover by Marguerite Duras
My Family and Other Animals by Gerald Durrell
Justine by Lawrence Durrell
The Pledge by Friedrich Durrenmatt
The Bamboo Bed by William Eastlake

The Name of the Rose by Umberto Eco
Foucault's Pendulum by Umberto Eco
Ennui by Maria Edgeworth
Castle Rackrent by Maria Edgeworth

Middlemarch by George Eliot
Silas Marner by George Eliot
Adam Bede by George Eliot
Daniel Deronda by George Eliot

The Mill on the Floss by George Eliot
American Psycho by Bret Easton Ellis
The Invisible Man by Ralph Ellison
LA Confidential by James Ellroy

The Big Nowhere by James Ellroy
A Quiet Belief in Angels by RJ Ellory
Cheese by Willem Elsschot
Silence by Shusaku Endo
The Gathering by Anne Enright

Middlesex by Jeffrey Eugenides
The Virgin Suicides by Jeffrey Eugenides

Under the Skin by Michel Faber
The Siege of Krishnapur by JG Farrell
Sanctuary by William Faulkner
As I Lay Dying by William Faulkner

The Sound and the Fury by William Faulkner
Birdsong by Sebastian Faulks
Bridget Jones's Diary by Helen Fielding
Joseph Andrews by Henry Fielding
Tom Jones by Henry Fielding
Caprice by Ronald Firbank

The Great Gatsby by F Scott Fitzgerald
Tender is the Night by F Scott Fitzgerald
The Blue Flower by Penelope Fitzgerald
Bouvard et Pécuchet by Gustave Flaubert

Madame Bovary by Gustave Flaubert
Sentimental Education by Gustave Flaubert

Casino Royale by Ian Fleming
Goldfinger by Ian Fleming
You Only Live Twice by Ian Fleming

Everything is Illuminated by Jonathon Safran Foer
Effi Briest by Theodore Fontane
The Good Soldier by Ford Madox Ford
Parade's End by Ford Madox Ford
The Sportswriter by Richard Ford
Independence Day by Richard Ford
The African Queen by CS Forester
The Ship by CS Forester
Howards End by EM Forster
A Room with a View by EM Forster

A Passage to India by EM Forster
The Day of the Jackal by Frederick Forsyth
The French Lieutenant's Woman by John Fowles

The Magus by John Fowles
The Corrections by Jonathan Franzen
Flashman by George MacDonald Fraser
Towards the End of the Morning by Michael Frayn
Spies by Michael Frayn
Cold Mountain by Charles Frazier
Hideous Kinky by Esther Freud
The Recognitions by William Gaddis
American Gods by Neil Gaiman
The Snow Goose by Paul Gallico
The Man of Property by John Galsworthy

The Beach by Alex Garland
Red Shift by Alan Garner
Mary Barton by Elizabeth Gaskell
Ruth by Elizabeth Gaskell

Cranford by Elizabeth Gaskell
North and South by Elizabeth Gaskell
The Polygots by William Gerhardie
Sunset Song by Lewis Grassic Gibbon

Cold Comfort Farm by Stella Gibbons
Neuromancer by William Gibson
The Immoralist by Andre Gide
The Vatican Cellars by Andre Gide
Strait is the Gate by Andre Gide
The Counterfeiters by Andre Gide
Herland by Charlotte Perkins Gilman
The Odd Women by George Gissing
New Grub Street by George Gissing
The Sorrows of Young Werther by Johann Wolfgang Goethe
Dead Souls by Nikolai Gogol

Lord of the Flies by William Golding
To The Ends of the Earth trilogy by William Golding
The Vicar of Wakefield by Oliver Goldsmith
Oblomov by Ivan Goncharov
July's People by Nadine Gordimer
Mother by Maxim Gorky

Asterix the Gaul by Rene Goscinny
The Wind in the Willows by Kenneth Grahame
The Tin Drum by Gunter Grass
Count Belisarius by Robert Graves
Lanark by Alastair Gray
Brewster's Millions by Richard Greaves (George Barr McCutcheon)
Living by Henry Green
Squire Haggard's Journal by Michael Green
Love on the Dole by Walter Greenwood

The End of the Affair by Graham Greene
Brighton Rock by Graham Greene
A Gun for Sale by Graham Greene
The Ministry of Fear by Graham Greene
The Third Man by Graham Greene
Our Man in Havana by Graham Greene
Travels with My Aunt by Graham Greene
The Power and the Glory by Graham Greene
A Time to Kill by John Grisham
The King of Torts by John Grisham
Life and Fate by Vassily Grossman
Diary of a Nobody by George Grossmith
The Little World of Don Camillo by Giovanni Guareschi

The Curious Incident of the Dog in the Night-time by Mark Haddon
De Niro's Game by Rawi Hage
King Solomon's Mines by H Rider Haggard

She: A History of Adventure by H Rider Haggard
The Forever War by Joe Haldeman
The Well of Loneliness by Radclyffe Hall
Hangover Square by Patrick Hamilton
The Slaves of Solitude by Patrick Hamilton
The Glass Key by Dashiell Hammett
The Maltese Falcon by Dashiell Hammett
Red Harvest by Dashiell Hammett
The Thin Man by Dashiell Hammett
Hunger by Knut Hamsun

Far From the Madding Crowd by Thomas Hardy
Jude the Obscure by Thomas Hardy

Tess of the D'Urbervilles by Thomas Hardy
The Mayor of Casterbridge by Thomas Hardy
The Woodlanders by Thomas Hardy
Covenant with Death by John Harris
Enigma by Robert Harris

Fatherland by Robert Harris
Black Sunday by Thomas Harris
Red Dragon by Thomas Harris
Light by M John Harrison
The Shrimp and the Anemone by LP Hartley
The Go-Between by LP Hartley
The Good Soldier Svejk by Jaroslav Hasek

The Scarlet Letter by Nathaniel Hawthorne
The House of the Seven Gables by Nathaniel Hawthorne
The Transit of Venus by Shirley Hazzard
Stranger in a Strange Land by Robert A Heinlein

Catch-22 by Joseph Heller
The Old Man and the Sea by Ernest Hemingway

A Farewell to Arms by Ernest Hemingway
For Whom the Bell Tolls by Ernest Hemingway
Dune by Frank L Herbert
The Crab with the Golden Claws by Georges Remi Herge
Tintin in Tibet by Georges Remi Herge
The Castafiore Emerald by Georges Remi Herge
Steppenwolf by Herman Hesse
Narziss and Goldmund by Hermann Hesse
The Glass Bead Game by Herman Hesse
The Infamous Army by Georgette Heyer
Regency Buck by Georgette Heyer
Tourist Season by Carl Hiaasen
The Friends of Eddie Coyle by George V Higgins
Strangers on a Train by Patricia Highsmith
The Talented Mr Ripley by Patricia Highsmith
Bones and Silence by Reginald Hill
A Rage in Harlem by Chester Himes
A Kestrel for a Knave by Barry Hines
Riddley Walker by Russell Hoban
Miss Smilla's Feeling for Snow by Peter Hoeg
Mr Blandings Builds His Dream House by Eric Hodgkins

The Private Memoirs and Confessions of a Justified Sinner by James Hogg
The Swimming-Pool Library by Alan Hollinghurst
The Line of Beauty by Alan Hollinghurst
South Riding by Winifred Holtby
The Prisoner of Zenda by Anthony Hope

High Fidelity by Nick Hornby
The Three Paradoxes by Paul Hornschemeier

The Kite Runner by Khaled Hosseini
Atomised by Michel Houellebecq
Rogue Male by Geoffrey Household
I Served the King of England by Bohumil Hrabal
Green Mansions: A Romance of the Tropical Forest by WH Hudson
A High Wind in Jamaica by Richard Hughes
Tom Brown's Schooldays by Thomas Hughes
Les Miserables by Victor Hugo

Their Eyes Were Watching God by Zora Neale Hurston
Crome Yellow by Aldous Huxley

Brave New World by Aldous Huxley
The Lecturer's Tale by James Hynes
Malice Aforethought by Francis Iles
Silence of the Grave by Arnadur Indridason
Death at the President's Lodging by Michael Innes

A Prayer for Owen Meany by John Irving
Mr Norris Changes Trains by Christopher Isherwood
Goodbye to Berlin by Christopher Isherwood

The Remains of the Day by Kazuo Ishiguro
The Unconsoled by Kazuo Ishiguro
The Haunting of Hill House by Shirley Jackson
The Mighty Walzer Howard by Jacobson
The Ambassadors by Henry James
Washington Square by Henry James
Portrait of a Lady by Henry James
The Wings of the Dove by Henry James

The Turn of the Screw by Henry James
The Children of Men by PD James
Cover Her Face by PD James
A Taste for Death by PD James
Pictures from an Institution by Randall Jarrell
After London; or, Wild England by Richard Jefferies
The Piano Teacher by Elfriede Jelinek
The Tortoise and the Hare by Elizabeth Jenkins

Three Men in a Boat by Jerome K Jerome
The Unfortunates by BS Johnson
Rasselas by Samuel Johnson
Bold as Love by Gwyneth Jones
From Here to Eternity by James Jones

A Portrait of the Artist as a Young Man by James Joyce
Ulysses by James Joyce
Finnegan's Wake by James Joyce
Chronicle in Stone by Ismael Kadare

The Castle by Franz Kafka
The Trial by Franz Kafka

Andersonville by MacKinlay Kantor
Beauty and Saddness by Yasunari Kawabata
The Far Pavillions by Mary Margaret Kaye
Zorba the Greek by Nikos Kazantzakis
Good Behaviour by Molly Keane
Lake Wobegon Days by Garrison Keillor
How Late it Was, How Late by James Kelman
Memet my Hawk by Yasar Kemal
Friday the Rabbi Slept Late by Harry Kemelman
Confederates by Thomas Keneally
Schindler's Ark by Thomas Keneally
Day by AL Kennedy
Moon over Africa by Pamela Kent

On the Road by Jack Kerouac
One Flew Over the Cuckoo's Nest by Ken Kesey
Flowers for Algernon by Daniel Keyes
Misery by Stephen King
Dolores Claiborne by Stephen King
The Shining by Stephen King
Kim by Rudyard Kipling
Darkness at Noon by Arthur Koestler
The Painted Bird by Jerzy Kosinski
The Book of Laughter and Forgetting by Milan Kundera
The Unbearable Lightness of Being by Milan Kundera
The Buddha of Suburbia by Hanif Kureishi
Death and the Penguin by Andrey Kurkov
Les Liaisons Dangereuses by Pierre-Ambroise-Francois Choderlos de Laclos
The Leopard by Giuseppi di Lampedusa
The Debt to Pleasure by John Lanchester
A Girl in Winter by Philip Larkin
Passing by Nella Larsen
The Victorian Chaise-longue by Marghanita Laski

Sons and Lovers by DH Lawrence
Lady Chatterley's Lover by DH Lawrence

The Rainbow by DH Lawrence
Women in Love by DH Lawrence

The Constant Gardener by John le Carre

Tinker, Tailor, Soldier, Spy by John le Carre
The Spy Who Came in from the Cold by John le Carre

Uncle Silas by Joseph Sheridan Le Fanu
The Earthsea Series by Ursula Le Guin

The Left Hand of Darkness by Ursula Le Guin
To Kill a Mockingbird by Harper Lee
Cider with Rosie by Laurie Lee
Invitation to the Waltz by Rosamond Lehmann
The Echoing Grove by Rosamond Lehmann
The Weather in the Streets by Rosamond Lehmann
Solaris by Stanislaw Lem
52 Pick-up by Elmore Leonard
Get Shorty by Elmore Leonard
L'Histoire de Gil Blas de Santillane (Gil Blas) by Alain-René Lesage

The Golden Notebook by Doris Lessing
Memoirs of a Survivor by Doris Lessing

The Grass is Singing by Doris Lessing
Motherless Brooklyn by Jonathan Lethem

The Chronicles of Narnia by CS Lewis
The Monk by Matthew Lewis
Babbitt by Sinclair Lewis
Elmer Gantry by Sinclair Lewis
Main Street by Sinclair Lewis
If Not Now, When? by Primo Levi
A Voyage to Arcturus by David Lindsay
How Green was My Valley by Richard Llewellyn
Changing Places by David Lodge
Nice Work by David Lodge
Martin Eden by Jack London
The Call of the Wild by Jack London
Gentlemen Prefer Blondes by Anita Loos
Zami by Audre Lorde
Under the Volcano by Malcolm Lowry
The Bourne Identity by Robert Ludlum
Foreign Affairs by Alison Lurie
Cop Hater by Ed McBain
The Butcher Boy by Patrick McCabe

The Road by Cormac McCarthy
No Country for Old Men by Cormac McCarthy
All the Pretty Horses by Cormac McCarthy
Blood Meridian by Cormac McCarthy
The Group by Mary McCarthy
The Member of the Wedding by Carson McCullers

The Heart is a Lonely Hunter by Carson McCullers
The Mark of Zorro by Johnston McCulley

Atonement by Ian McEwan
The Child in Time by Ian McEwan
Enduring Love by Ian McEwan
Amongst Women by John McGahern
Bright Lights, Big City by Jay McInerney
Lonesome Dove by Larry McMurty
The Towers of Trebizond by Rose Macaulay
England, Their England by AG Macdonell
Absolute Beginners by Colin MacInnes
Whisky Galore by Compton Mackenzie
Of Love and Hunger by Julian Maclaren-Ross
The Guns of Navarone by Alistair MacLean

The Night Sessions by Ken Macleod
Samarkand by Amin Maalouf
The Posthumous Memoirs of Bras Cubas by Joaquim Maria Machado de Assis
Memoirs of a Gnostic Dwarf by David Madsen
Palace Walk by Naguib Mahfouz
The Naked and the Dead by Norman Mailer
The Assistant by Bernard Malamud
Remembering Babylon by David Malouf
La Condition Humaine by Andre Malraux
Sidetracked by Henning Mankell
Beyond Black by Hilary Mantel
Buddenbrooks by Thomas Mann
Death in Venice by Thomas Mann
The Magic Mountain by Thomas Mann
Fortunes of War by Olivia Manning
The Betrothed by Alessandro Manzoni
The Silent Duchess by Dacia Maraini
A Heart So White by Javier Marias

One Hundred Years of Solitude by Gabriel Garcia Marquez
Love in the Time of Cholera by Gabriel Garcia Marquez

The Children of the New Forest by Frederick Marryat

I Am Legend by Richard Matheson
Melmoth the Wanderer by Charles Maturin
Cakes and Ale - Or, the Skeleton in the Cupboard by W Somerset Maugham
Of Human Bondage by Somerset Maugham
Bel-Ami by Guy de Maupassant
Tales of the City by Armistead Maupin
The Chateau by William Maxwell
So Long, See you Tomorrow by William Maxwell
The Rector's Daughter by FM Mayor

Moby-Dick or, The Whale by Herman Melville
Ascent by Jed Mercurio
The Ordeal of Richard Feverek by George Meredith
The Egoist by George Meredith
Tales of the South Pacific by James Michener

The Scar by China Mieville
Ingenious Pain by Andrew Miller

Tropic of Cancer by Henry Miller
Patience and Sarah by Isabel Miller
A Canticle for Leibowitz by Walter M Miller Jr
Puckoon by Spike Milligan
The Restraint of Beasts by Magnus Mills

Family Matters by Rohinton Mistry
A Fine Balance by Rohinton Mistry
Cloud Atlas by David Mitchell
Gone With the Wind by Margaret Mitchell
The Pursuit of Love by Nancy Mitford
Love in a Cold Climate by Nancy Mitford
Sour Sweet by Timothy Mo
The Cruel Sea by Nicholas Monsarrat
Mother London by Michael Moorcock
The Lonely Passion of Judith Hearne by Brian Moore
Arturo's Island by Elsa Morante
History by Elsa Morante
The Time of Indifference by Alberto Moravia
Charade by John Mortimer

News from Nowhere by William Morris
The Bluest Eye by Toni Morrison
Song of Solomon by Toni Morrison
Beloved by Toni Morrison
Titmuss Regained by John Mortimer
Devil in a Blue Dress by Walter Mosley
Who Do You Think You Are? by Alice Munro

Norwegian Wood by Haruki Murakami
The Wind-Up Bird Chronicle by Haruki Murakami
Under the Net by Iris Murdoch
The Black Prince by Iris Murdoch
The Man Without Qualities by Robert Musil
Pnin by Vladimir Nabokov
Pale Fire by Vladimir Nabokov
Ada or Ardor by Vladimir Nabokov
Lolita, or the Confessions of a White Widowed Male by Vladimir Nabokov
Fireflies by Shiva Naipaul
A House for Mr Biswas by VS Naipaul
A Bend in the River by VS Naipaul
The Painter of Signs by RK Narayan
Suite Francaise by Irene Nemirovsky

Delta of Venus by Anais Nin
The Time Traveler's Wife by Audrey Niffenegger

The Sorrow of War by Bao Ninh

Ringworld by Larry Niven
Vurt by Jeff Noon
All Souls Day by Cees Nooteboom
McTeague by Frank Norris
Master and Commander by Patrick O'Brian
At-Swim-Two-Birds by Flann O'Brien
The Third Policeman by Flann O'Brien

The Things They Carried by Tim O'Brien
Personality by Andrew O'Hagan
Teach Us to Outgrow Our Madness by Kezaburo Oe
The Famished Road by Ben Okri
The English Patient by Michael Ondaatje
The Great Impersonation by E Phillips Oppenheim
The Strange Borders of Palace Crescent by E Phillips Oppenheim
The Scarlet Pimpernel by Baroness Emmuska Orczy

Burmese Days by George Orwell
Animal Farm by George Orwell
Nineteen Eighty-Four by George Orwell
Fight Club by Chuck Palahniuk
My Name is Red by Orhan Pamuk
Toxic Shock by Sara Paretsky
Blacklist by Sara Paretsky
The Ragazzi Pier by Paolo Pasolini
Doctor Zhivago by Boris Pasternak
Cry, the Beloved Country by Alan Paton
The Moon and the Bonfire by Cesare Pavese
Nineteen Seventy Four by David Peace
Nineteen Seventy Seven by David Peace

GB84 by David Peace
Nightmare Abbey by Thomas Love Peacock
Headlong Hall by Thomas Love Peacock
Titus Groan by Mervyn Peake
The Big Blowdown by George Pelecanos
Hard Revolution by George Pelecanos
The Sacred Book of the Werewolf by Victor Pelevin
The Moviegoer by Walker Percy
La Disparition by Georges Perec
Les Revenentes by Georges Perec

La Vie Mode d'Emploi by Georges Perec
Zen and the Art of Motorcycle Maintenance by Robert Pirsig

The Bell Jar by Sylvia Plath
My Search for Warren Harding by Robert Plunkett
The Space Merchants by Frederik Pohl and CM Kornbluth
My Name Is Asher Lev by Chaim Potok
A Dance to the Music of Time by Anthony Powell
The Valley of Bones by Anthony Powell
The Soldier's Art by Anthony Powell
The Military Philosophers by Anthony Powell
Afternoon Men by Anthony Powell
A Time to be Born by Dawn Powell
A Glastonbury Romance by John Cowper Powys
The Discworld Series by Terry Pratchett
Manon Lescaut by Abbe Prevost
Lush Life by Richard Price
The Prestige by Christopher Priest
The Good Companions by JB Priestley

The Shipping News by E Annie Proulx
Remembrance of Things Past by Marcel Proust

His Dark Materials by Philip Pullman
The Godfather by Mario Puzo
Excellent Women by Barbara Pym
Less Than Angels by Barbara Pym
V by Thomas Pynchon

The Crying of Lot 49 by Thomas Pynchon
Gravity's Rainbow by Thomas Pynchon

Vineland by Thomas Pynchon
Zazie in the Metro by Raymond Queneau
The Crime of Father Amado by José Maria de Eça de Queiroz
Gargantua and Pantagruel by Francois Rabelais
The Mysteries of Udolpho by Ann Radcliffe
Black and Blue by Ian Rankin
The Hanging Gardens by Ian Rankin
Exit Music by Ian Rankin
The Surprising Adventures of Baron Munchausen by Rudolp Erich Raspe
Alms for Oblivion by Simon Raven
A Married Man by Piers Paul Read

All Quiet on the Western Front by Erich Maria Remarque
Judgment in Stone by Ruth Rendell
Live Flesh by Ruth Rendell

Revelation Space by Alastair Reynolds
Wide Sargasso Sea by Jean Rhys
Pointed Roofs by Dorothy Richardson
The Fortunes of Richard Mahoney by Henry Handel Richardson
Maurice Guest by Henry Handel Richardson
Pamela by Samuel Richardson
Clarissa by Samuel Richardson
Solomon Gursky Was Here by Mordecai Richler

The Years of Rice and Salt by Kim Stanley Robinson
Gilead by Marilynne Robinson
The Devil to Pay in the Backlands by Joao Guimaraes Rosa
Call it Sleep by Henry Roth
The Radetzky March by Joseph Roth

American Pastoral by Philip Roth
The Human Stain by Philip Roth
Portnoy's Complaint by Philip Roth

Julie, ou la Nouvelle Heloise by Jean-Jacques Rousseau

Harry Potter and the Philosopher's Stone by JK Rowling
The God of Small Things by Arundhati Roy
Satanic Verses by Salman Rushdie
Midnight's Children by Salman Rushdie

Shame by Salman Rushdie
The Female Man by Joanna Russ
Air by Geoff Ryman
Bonjour Tristesse by Francoise Sagan
Ali and Nino by Kurban Said
Sacaramouche by Rafael Sabatini
Captain Blood by Rafael Sabatini
The Westminster Alice by Saki
The Unbearable Bassington by Saki

The Catcher in the Rye by JD Salinger
Light Years by James Salter
A Sport and a Passtime by James Salter
The Hunters by James Salter
Alberta and Jacob by Cora Sandel
Dissolution by CJ Sansom
Blindness by Jose Saramago
Whose Body? by Dorothy L Sayers
Murder Must Advertise by Dorothy Le Sayers
To Each his Own by Leonardo Sciascia
The Reader by Benhardq Schlink
Staying On by Paul Scott
Ivanhoe by Sir Walter Scott
The Reluctant Orphan by Aara Seale
Hurrah for St Trinian's by Ronald Searle
The Rings of Saturn by WG Sebald
Austerlitz by WG Sebald
Love Story by Eric Segal
Last Exit to Brooklyn by Hubert Selby Jr
Great Apes by Will Self
How the Dead Live by Will Self

The Lonely Londoners by Samuel Selvon
God's Bit of Wood by Ousmane Sembene
The Case of Comrade Tulayev by Victor Serge
A Suitable Boy by Vikram Seth
Black Beauty by Anna Sewell
Porterhouse Blue by Tom Sharpe
Blott on the Landscape by Tom Sharpe
The Young Lions by Irwin Shaw
Richshaw Boy by Lao She
Office Politics by Wilfrid Sheed

Frankenstein by Mary Shelley
Unless by Carol Shields
We Need to Talk About Kevin - Lionel Shriver
A Town Like Alice by Nevil Shute
Saturday Night and Sunday Morning by Alan Sillitoe
The Madman of Bergerac by Georges Simenon
The Blue Room by Georges Simenon
Belles Lettres Papers: A Novel by Charles Simmons
Hyperion by Dan Simmons
The Three Sisters by May Sinclair

The Jungle by Upton Sinclair
Enemies, a Love Story by Isaac Bashevis Singer
The Family Moskat or The Manor or The Estate by Isaac Bashevis Singer
The Laughing Policeman by Maj Sjowall and Per Wahloo
At Grand Central Station I Sat Down and Wept by Elizabeth Smart
Moo by Jane Smiley
A Thousand Acres by Jane Smiley
I Capture the Castle by Dodie Smith
Gorky Park by Martin Cruz Smith
Only Forward by Michael Marshall Smith
Novel on Yellow Paper by Stevie Smith
Topper Takes a Trip by Thorne Smith

White Teeth by Zadie Smith
On Beauty by Zadie Smith
The Adventures of Ferdinand Count Fathom by Tobias Smollett
The Adventures of Roderick Random by Tobias Smollett
The Adventures of Peregrine Pickle by Tobias Smollett
The Expedition of Humphry Clinker by Tobias Smollett

One Day in the Life of Ivan Denisovitch by Alexandr Solzhenitsyn
The Map of Love by Ahdaf Soueif
The Prime of Miss Jean Brodie by Muriel Spark
The Girls of Slender Means by Muriel Spark
The Driver's Seat by Muriel Spark
Loitering with Intent by Muriel Spark
A Far Cry from Kensington by Muriel Spark
Maus by Art Spiegelman
Star Maker by Olaf Stapledon
The Man Who Loved Children by Christina Stead

Of Mice and Men by John Steinbeck
East of Eden by John Steinbeck

The Grapes of Wrath by John Steinbeck
The Red and the Black by Stendhal
The Charterhouse of Parma by Stendhal
Snow Crash by Neal Stephenson
Cryptonomicon by Neil Stephenson
The Life and Opinions of Tristram Shandy, Gentleman by Laurence Sterne
A Sentimental Journey by Lawrence Sterne

The Strange Case of Dr Jekyll and Mr Hyde by Robert Louis Stevenson
Kidnapped by Robert Louis Stevenson

Treasure Island by Robert Louis Stevenson
White Man Falling by Mike Stocks

Dracula by Bram Stoker
A Flag for Sunrise by Robert Stone
This Sporting Life by David Storey
The League of Frightened Men by Rex Stout

Uncle Tom's Cabin by Harriet Beecher Stowe
Ballet Shoes by Noel Streatfield
The Red Room by August Stringberg

Sophie's Choice by William Styron
Handley Cross by RS Surtees
Valley of the Dolls by Jacqueline Susann

Perfume by Patrick Suskind
Confessions of Zeno by Italo Svevo
Waterland by Graham Swift
A Tale of a Tub by Jonathan Swift
Gulliver's Travels by Jonathan Swift
The Home and the World by Rabindranath Tagore
Diary of a Mad Old Man by Junichiro Tanizaki
Penrod by Booth Tarkington
The Magnificent Ambersons by Booth Tarkington

The Secret History by Donna Tartt
Angel by Elizabeth Taylor

The Daughter of Time by Josephine Tey
The Luck of Barry Lyndon by William Makepeace Thackeray

Vanity Fair by William Makepeace Thackeray
Before Lunch by Angela Thirkell
Tropic of Ruislip by Leslie Thomas
Lark Rise to Candleford by Flora Thompson
The Getaway by Jim Thompson
The Insult by Rupert Thomson
The Blackwater Lightship by Colm Toibin

The Hobbit by JRR Tolkien
The Lord of the Rings by JRR Tolkien

War and Peace by Leo Tolstoy
Anna Karenina by Leo Tolstoy
A Confederacy of Dunces by John Kennedy Toole
The Secret Diary of Adrian Mole, Aged 13 3/4 by Sue Townsend
Music and Silence by Rose Tremain

The Ragged Trousered Philanthropists by Robert Tressell
Death in Summer by William Trevor

Barchester Towers by Anthony Trollope
The Last Chronicle of Barset by Anthony Trollope
The Way We Live Now by Anthony Trollope
Venus on the Half-Shell by Kilgore Trout
Fathers and Sons by Ivan Turgenev
First Love by Ivan Turgenev
Pudd'nhead Wilson by Mark Twain
The Mysterious Stranger by Mark Twain

The Adventures of Huckleberry Finn by Mark Twain
The Adventures of Tom Sawyer by Mark Twain
A Connecticut Yankee in King Arthur's Court by Mark Twain

Breathing Lessons by Anne Tyler
The Accidental Tourist by Anne Tyler
Peace in War by Miguel de Unamuno
The Witches of Eastwick by John Updike
The Rabbit Omnibus by John Updike
Couples by John Updike
Z by Vassilis Vassilikos

Around the World in Eighty Days by Jules Verne
A Journey to the Centre of the Earth by Jules Verne
Williwaw by Gore Vidal
A Dark-Adapted Eye by Barbara Vine
A Fatal inversion by Barbara Vine
King Solomon's Carpet by Barbara Vine
Candide by Voltaire
Breakfast of Champions by Kurt Vonnegut

Slaughter-House Five by Kurt Vonnegut
Sirens of Titan by Kurt Vonnegut
Slouching Towards Kalamazoo by Peter De Vries

The Color Purple by Alice Walker
Infinite Jest by David Foster Wallace
The Four Just Men by Edgar Wallace
The Castle of Otranto by Horace Walpole
Institute Benjamenta by Robert Walser
Jimmy Corrigan, The Smarest Kid on Earth by Chris Ware
Lolly Willowes by Sylvia Townsend Warner
Billy Liar by Keith Waterhouse
Affinity by Sarah Waters

Fingersmith by Sarah Waters
The Night Watch by Sarah Waters

Morvern Callar by Alan Warner

Decline and Fall by Evelyn Waugh
Vile Bodies by Evelyn Waugh

Black Mischief by Evelyn Waugh

Scoop by Evelyn Waugh
The Loved One by Evelyn Waugh
A Handful of Dust by Evelyn Waugh
Put Out More Flags by Evelyn Waugh
Men at Arms by Evelyn Waugh

The Graduate by Charles Webb
The Life and Loves of a She-Devil by Fay Weldon
Tono Bungay by HG Wells
The History of Mr Polly by HG Wells

The Time Machine by HG Wells
The War of the Worlds by HG Wells
The Island of Dr Moreau by HG Wells
Trainspotting by Irvine Welsh

The Day of the Locust by Nathanael West
The Return of the Soldier by Rebecca West
The Fountain Overflows by Rebecca West
The Machine-Gunners by Robert Westall
The Age of Innocence by Edith Wharton
The House of Mirth by Edith Wharton
Frost in May by Antonia White
The Tree of Man by Patrick White
Voss by Patrick White
The Sword in the Stone by TH White

The Picture of Dorian Gray by Oscar Wilde
Molesworth by Geoffrey Willans and Ronald Searle
The Wimbledon Poisoner by Nigel Williams
Anglo-Saxon Attitudes by Angus Wilson
The Old Men at the Zoo by Angus Wilson

Oranges Are Not the Only Fruit by Jeanette Winterson
The Passion by Jeanette Winterson
The Virginian by Owen Wister
Something Fresh by PG Wodehouse
Piccadilly Jim by PG Wodehouse
Thank You Jeeves by PG Wodehouse
Heavy Weather by PG Wodehouse
The Code of the Woosters by PG Wodehouse
Joy in the Morning by PG Wodehouse
The Book of the New Sun by Gene Wolfe

The Bonfire of the Vanities by Tom Wolfe
East Lynne by Ellen Wood
I'll Go to Bed at Noon by Gerard Woodward

To the Lighthouse by Virginia Woolf
Mrs Dalloway by Virginia Woolf
Orlando by Virginia Woolf

The Caine Mutiny by Herman Wouk

Native Son by Richard Wright
Swiss Family Robinson by Johann David Wyss

Day of the Triffids by John Wyndham
The Midwich Cuckoos by John Wyndham

Revolutionary Road by Richard Yates
We by Yevgeny Zamyatin
Therese Raquin by Emile Zola
Germinal by Emile Zola
La Bete Humaine by Emile Zola
The Debacle by Emile Zola

Sunday, 8 February 2009

That Biden Speech on Foreign Policy

At yesterday's 45th Munich Security Conference, US vice president Joe Biden outlined the character of Obama's foreign policy for the next four years. While it contained no real surprises it is an important speech for socialists to look at, even if it is light on detail. The US economy might be sliding perilously close to depression, but by a vast distance it remains the world's only imperialist superpower and no other state, be they the great powers of old or the emerging might of China and India, has the kind of global reach America possesses.

It is probably too early to speak of a distinctive approach to foreign affairs but at first glance you could be forgiven for thinking otherwise. Biden speaks of a "new tone" requiring "strong partnerships to meet common challenges", and a casting "aside the petty and the political to reject zero sum mentalities and rigid ideologies, to listen to and learn from one another and to work together for our common prosperity and security." He goes on to say there cannot be a choice between liberty and security as they are mutually reinforcing - "the example of our power must be matched by the power of our example", as he pithily puts it. Despite the diplomatic wording (it would have been impolitic for Biden to have said "we're breaking with Neoconservatism"), these comments clearly mark a change in direction.


What the administration has in mind is a return to a more collegial approach, but this is hardly earth-shattering news. Overseas antipathy toward Bush and the appeal of Obama to a large degree turns on this question of international cooperation. But nevertheless it's worth remembering that despite its Neoconservatism the Bush administration worked multilaterally through NATO and the UN to secure the invasion and occupation of Afghanistan (and let's face it, much of the liberal opposition to the war in Iraq was because it did not successfully proceed through their precious UN, not because the invasion was intrinsically wrong). Therefore what really matters is not Obama's readiness to work with other states, but to what ends the "understandings", pacts, treaties and alliances will be put.

On this occasion though, Biden was careful to sound a liberal note few international relations watchers would grumble about. He identified the key challenges as:

* The spread of mass destruction weapons and dangerous diseases;
* A growing gap between rich and poor;
* Ethnic animosities and failed states;
* A rapidly warming planet and uncertain supplies of energy, food, water;
* The challenge to freedom and security from radical fundamentalism.
He argues America will work with others wherever possible and waxes lyrical about the building and enforcing of collective security arrangements. This enables him to wag a finger at Iran for pursuing its "illicit" nuclear programme and sponsorship of terrorist organisations, but also Biden explicitly states the US is willing to negotiate. What he doesn't elucidate is the second part of this principle - the reservation of the right to act unilaterally "only when we must"; an omission that lends a degree of pregnant menace to his Iran comments.

The second principle is a move from the Bush doctrine of pre-emption to prevention with the heavy accent on diplomacy. As Biden admits, the acid test for multilateral diplomacy is the ever-present destabilising effects of Israel/Palestine. He argues for aid efforts that strengthen the 'official' Palestinian authority at the expense of Hamas, the establishment of a lasting two state solution, and the defeat of "extremists" who perpetuate the conflict (as if the interminable strife can be boiled down to die-hards on either side). The second is the worsening situation in Afghanistan and Pakistan, which will require multilateral cooperation from all interested parties. For Afghanistan it means ridding the country from terrorists. For Pakistan it is aiding the state against its recalcitrant tribal territories in the north and along the Afghan-Pakistani border and helping out with economic development - probably much easier said than done given the depths of the country's
economic crisis.

The third, quoting from Obama's inauguration speech, is "America will extend a hand to those who unclench their fists." He rejects the clash of civilisations thesis and instead paints a picture of a decent world threatened by extremism. Part of the foreign policy programme will see the USA reaching out to hundreds of millions across the Islamic world to strengthen the values most Muslims and America hold in common - and naturally restore the global hegemon's legitimacy. Biden may have in mind Islamic fundamentalism, but what of other sorts of "extremism"? How long will it be before growing labour and socialist movements are grouped into this category? Again, the Obama Doctrine is designed to avoid this scenario. Its favoured method of prevention is the encouragement of liberal democratisation and economic development.

Moving on to the 'vision thing' the development goals Biden sets the administration reads like a liberal interventionist's dream. Their objectives are

* To help eliminate the global education deficit;
* To cancel the debt of the world’s poorest countries;
* To launch a new Green Revolution that produces sustainable supplies of food and;
* To advance democracy not through its imposition by force from the outside, but by working with moderates in government and civil society to build the institutions that will protect freedom.
These are prefaced by a desire to cut global poverty by half by 2015. I think they're going need a bit of assistance meeting that one.

In the final part of the speech, Biden turns his attention to NATO and the perennially frosty relationship with a more assertive Russia. First off he recommits the administration to maintaining a missile defence capability, but only to protect the West from Iran and, importantly, in consultation with the Putin-Medvedev regime. This sounds the tone for a more conciliatory approach to Russia. For example, there is a strange almost-admission that its Soviet predecessor was right to fight fundamentalist Islam in Afghanistan and calls for more cooperation between Russia and NATO against the Taliban (and presumably the Islamic movements and militias active in Russia's near-abroad). He also looks forward to cooperation with Russia over arsenal reduction and against nuclear proliferation. Interestingly Biden notes US opposition to the puppet states of Abkhazia and South Ossetia, but signals America's intent to keep it as a paper position.

And all this is concluded with a neatly-tied pledge to transatlantic cooperation. So far, so liberal.

It remains to be seen whether the administration's actions will match the rhetoric. But when all is said and done after
Guardianistas, Decent-types, sundry Democrat and LibDem commentators, and 'soft' anti-imperialists have pored over this speech, there is no real qualitative difference between the new administration and the ancien regime. Neoconservatives were equally partial to wield the apologia of liberal interventionism - their problem was virtually no one took their humanitarian gloss seriously, least of all themselves. The difference is because our liberal friends want to believe in Obama and his foreign policy actions are likely to get a free pass from this quarter for quite a while. It falls to us socialists to articulate the criticisms and offer an alternative.

Saturday, 7 February 2009

Branch Meeting: Socialist Party Strategy

Stoke Socialist Party met Thursday evening on the occasion of its AGM for a discussion of national and local party strategy. The substance of the discussion revolved around the report A brought us from the SP's national committee, which was a mixture of material from the party's annual British Perspectives document (last year's here) and the strategic priorities it has laid out for the party.

A started by noting how the party is entering a unique period as none of its activists have ever experienced a crisis of this scale and depth. It is a situation pregnant with dangers and opportunities, and one that will see quite dramatic shifts in consciousness. By way of a small example A cited a journalists'
meeting at the Financial Times, called in response to management's leaked plan to lay off 18 staff. Tony Benn spoke and concluded his contribution by observing that "capitalism isn't working". This was reportedly met with "thunderous applause". If staff at the bourgeoisie's house journal are hailing the arguments of a well known socialist, then capitalism's got some serious legitimacy issues.

The scope of the crisis mean it cannot be escaped. Even China and India, the capitalist success stories of the last decade,  are facing difficulties as their overseas export markets shrink. Already Eastern Europe and the Balkans have witnessed serious unrest, France has been convulsed by strikes, Britain(!) has had the first successful wildcat action since anyone can remember, and even nominally stable states such as Iceland have brought their government down (joke - what's the difference between Iceland and Ireland? One letter and six months ...)

The effect the crisis has had on politics has been profound. This is especially true in Britain where a seemingly sclerotic government lurched from crisis to crisis seemingly began exuding dynamism and the appearance of competence. The speed with which neoliberalism was discarded was almost indecent. But the government had no choice - either massive injections of cash were pumped into the banking system or the whole financial edifice would come crashing down, which would not only have devastated the British economy, but also have torn a massive hole in the fabric of global capital. Brown and Darling may not have saved the world, but their actions did head off an even greater catastrophe. The problem is the crisis has been temporarily stabilised, but the price paid is financial stagnation. We are told time after time that recovery depends on getting things moving - and the measures so far introduced such as the two per cent off VAT, the availability of government loans to banks, the reduction of interest rates to a single percentage point have all done very little. While it is true lending capacity has dramatically shrunk as foreign banks have withdrawn from the UK market, it is also the case the British economy is caught between the horns of overproduction and underconsumption.

All this adds up to possibly the greatest crisis British capital has ever faced, and the government are now effectively paralysed. When the IMF forecast a devastating 2.8 per cent GDP contraction for Britain this year, all Brown could do was mutter how Japan and Italy would have it much worse in 2010!

The impact on the working class is uneven. As the party and this blog has
predicted previously, the crisis has had a stunning effect on sections of the class, perhaps best illustrated by how the collapse of Woolworths and the scale of job losses on the high street has not provoked generalised resistance. And with jobs disappearing at the rate of 1,600 a day, struggles are more likely to be of a defensive character. Take the public sector, for example. Throughout the neoliberal years this has been the bastion of British trade union organisation. It has taken action over government attacks on pensions, job cuts, wages, and so on. With the public sector now targeted for £5bn worth of cuts and some local authorities plan to completely privatise their services, the focus of action will increasingly switch to preserving jobs rather than agitation over wages. But because of union slovenliness in the previous period, particularly on the part of those still formally affiliated to Labour, there is some movement among trade unionists leaving one union and taking up membership in another. On the one hand, it's a positive sign that workers are looking for an organisation prepared to stand and fight, but on the other it could serve to divide union strength in the workplaces. The SP while understanding these sentiments will nevertheless pursue strategies aimed at reclaiming unions and discourage jumping ship.

Staying with the public sector, the massive failure of the market and the part-nationalisation of the banks has put the N-word back on the political agenda. This offers a foot in the door for socialists to make our arguments, but we must carefully differentiate between the state capitalist nationalisations carried through by Brown and co, and those pushed by re-animated Keynesians. Our idea of nationalisation put democracy and the interests of our class at its core and are of a different order entirely of anything the government would consider.

The existence of a new workers' party would have a tremendous positive impact on the consciousness of working class people. But founding a new party between now and the next general election is an increasingly unlikely prospect. Nevertheless the SP will continue pushing the
CNWP as well as building its own ranks. Where the Labour party are concerned, the 'Brown bounce' is well and truly over and the polling gap has re-opened between it and the Tories. Its not beyond the realm of possibility that Brown might face his own Iceland-style scenario, but should things proceed normally as per the electoral cycle, people are so fed up that it is increasingly likely Cameron will be forming the next government. From the SP's point of view, it would be better if Labour stayed in power, not least because opposition could allow it to rediscover social democratic values and the aspirations of its core vote. Such a repositioning could see it act as a counterweight to emerging radicalism by sucking in new layers of working class militants and dissipating their energies down harmless institutional channels.

For the SP, recruitment for the last quarter and the year to date is well up on the same period 12 months ago. The level of subs - the regular financial contribution every member makes to the party - is now its highest for 12 years, indicating the difficult period of decline is behind us. But we should not overplay what lies ahead, we're not facing a revolutionary situation or capitalism's Waterloo. That scenario will only come to pass when the workers' movement is strong enough to put the continued existence of capitalism into question. But what we do have is a generalised crisis where the party's organisation and influence could grow significantly. This means paying attention not just to recruitment but also the integration and development of new members. The cultivation and encouragement of new cadres is essential if the SP is to make the most of the new situation.

The main problem facing a small revolutionary organisation is knowing what work to prioritise. As more workers enter into disputes, as the government claws back public services, as national scandals and political crises erupt, the danger consists of spreading ourselves too thinly and getting swamped by the pace and scale of events. For this reason the party is prioritising the
Youth Fight For Jobs campaign and march - its demands will act as a strategic anchor and focus enabling us to intervene effectively across workplaces, universities, colleges and schools.

In the discussion, R raised his concerns about the government's intent to implement its workfare programme, which could undercut the pay and working conditions of existing workforces. F said he'd looked into it further for his union branch and found that of the 10 contracts in the process of being finalised, only two are for public sector projects. In other words business will be receiving an indentured labour force it doesn't pay for. For P, as well as being utterly disgraceful, immoral and exploitative in and of itself, he argued this could be a very bad move on the government's part. Unemployment typically atomises workers, but forcing people to work for their dole will throw them together, making collective action not only possible but extremely likely. This is nothing to say of the workers whose jobs will be threatened by this unfree labour - it is a combustible recipe for more Lindsey-style disputes. For F, the consciousness of the 'boom' years with its general antipathy toward the unemployed will melt away as ever more are sucked onto the dole.

Remembering his
Militant days under Thatcher, R suggested that an electoral victory for the Tories could catalyse opposition. A thought this might not be the case seeing as Cameron will want to play his soft Conservatism hand. But P replied that whether the Tories play good cop or bad cop, the trade union leaders without a government to embarrass any more might be more likely to fight. But J, going from his experiences on the stalls, believed there was little enthusiasm out there for any of the mainstream parties.

The discussion then moved on to local strategy and how the YFFJ campaign can tie all our work together. I'm sure readers will understand why that won't be receiving a public airing on here. We then elected our new branch committee and delegates to the WestMids regional committee - it was heartening to see new comrades taking up organising roles.

Overall I think comrades came away with a clear understanding of the challenging year the branch has ahead of it. But also of the political rewards that are within reach.

Friday, 6 February 2009

A Sociological Theory of Bad Sci-Fi

Taste is a subjective thing and it's pointless trying to construct a theory that rigorously or scientifically justifies one's preferences. But that's not going to stop me from having a stab at why bad science fiction is, well, pants.

In an excellent
post, Martin of Wis[s]e Words fame discusses how science fiction literature inhabits a second class existence. He talks about the feting of literary authors when they have a dabble in sci-fi (he mentions PD James, but also Margaret Atwood, Kazuo Ishiguro and Philip Roth spring to mind), even if the science fictional aspect is, well, pretty dodgy. And also the assimilation of prominent (but often long dead) SF authors into the literary canon.

To my mind nothing illustrates the dichotomy between "proper" literature and SF more clearly than the prodigious output of
Iain (M) Banks. For his literary works he is simply known as Iain Banks, and for the SF the M initial is inserted. As a reader of all his work they are entertaining, clever, original, and witty. None of his SF can be shoe horned into the big-gun-bug-eyed-alien mould, even though there are plenty of them about. But as far as the literary world are concerned, some of his output is more worthy than others. According to the first edition of this book's attempt at creating a new literary canon, only one Iain M Banks makes it into the 1,001-strong list (The Player of Games) while a handful of his literary novels make the grade.

Can this be put down to general snobbery? Probably, but not solely. But what makes literature literary is, crudely and generally put, the adherence, or a commitment to subvert a set of accepted narrative strategies, which usually prize style, plotting, subtle invocations of influences and contemporary fashions, and characterisation. In other words, literary authors work in a particular field encompassing other authors, publishers, lay and academic apparatuses of criticism, and audiences with certain expectations. Ishiguro's
Never Let Me Go can get away with it not just because it is by a respected name, but because it conforms to certain literary conventions. Iain M. Banks's SF, a superb author like Peter F. Hamilton, at least for now, fall outside of these conventions.

The field of science fiction operates in much the same way hence why it is easy to dismiss literary forays into its domain as not 'proper' SF. For example it is quite possible to write a book or series of books around one or several big ideas and still win sci-fi plaudits because value is attached to speculation over and above traditional literary value. Authors like
Richard K. Morgan, Stephen Baxter and Harry Turtledove are certainly in this mode.

Following
Bourdieu, fields do not exist in isolation. They inter-mesh and overlap other related and formally unrelated fields to varying degrees. Similarly everyone simultaneously inhabits multiple sets of fields and sub-fields. Some are in complementary relationships while others are conflictual and contradictory. In my own case, as a regular reader of science and literary fiction, I am aware of the "capitals", strategies and stakes each field possesses. Among others I inhabit a sociological field, circumscribed to a degree by specialism, geographical location, and academic biography/career; and the socialist end of the political field - again conditioned by my party membership, the issues that particularly interest me, and my experience as an activist. A theory of taste, or rather more accurately, a theory that explains why I like what I like can be constructed from concepts generated from this framework.

Let's illustrate this with a novel I've recently read.
John Birmingham's Weapons of Choice is the first in an alternate history trilogy that sees a multinational naval taskforce from 2021 accidentally transported across time and space to the mid-Pacific on the eve of the Battle of Midway. The rest of the book is spent with all sides - the task force and the 1942 combatants trying to come to terms with the "transition", with a touch of 21st century meets WWII scrapping along the way.

The premise of pitting modern day technology against the 2nd World War is not a new one - Harry Turtledove did it over four turgid books in his
World War series (where alien lizards from outer space have a go at invading Earth in 1942). And there are a couple of obvious winks in Weapons toward it. But what makes it objectionable to me is not just the cardboard characters and unlikely plotting (seriously, in a middle of a war and unsure about how much 21st century technology Japan had salvaged, would precious and irreplaceable materiel be expended in POW rescue missions?), but also the drawing of the female characters - who are either Paris Hilton alikes who do guns and kung fu, or dowdy lesbians - is awful, and the overall sociological naivete really grates. It offers an apologia for the War on Terror (accepting the thoroughly discredited claim this is a clash of civilisations and ideals) and puts a liberal gloss on the allied involvement in WWII, which, of course, was all about stopping the bad guys. Birmingham really does believe it too - there's more than one occasion when characters from the future lecture their forebears on the theory that history is merely a clash of contending ideas.

Weapons fits nicely into the alternate history/techno thriller sub-field of SF, but you cannot help but bring the baggage of other fields to bear when forming a judgment. It almost completely eschews literary values, sticks in the craw of my political values, and on top of that does as much violence to the laws of social development as the premise does to the laws of physics. But, again showing up the subjective limits of a sociological theory of bad sci-fi, Weapons is not intended as an intervention in any of these fields, but as a cultural artefact it cannot help but be interpreted through the filter of other fields and judged according to tastes informed by them.

Bourdieu's concepts provide a method for investigating literary tastes in much greater depth than this illustrative example, but it cannot arbitrate on the question of value. It is a way of explaining why some things are valued and others are not. What it cannot be is the final word on good and bad taste.

(An alternate and more formal way of spotting bad fiction is
here, courtesy of Feminist SF).

Wednesday, 4 February 2009

Wildcat Strikes: The Media's Silence on the Cost

By now most readers will have seen the news that a set of proposals agreed by the unions and stewards will be put to the workers at Lindsey tomorrow. In my opinion it is likely the strikers will accept the deal, and the secondary actions will vote to return to work by the end of the week.

But there's something missing from the media commentary on the strikes. As CBC pointed out to me last night, when the firefighters were on strike in 2002 the BBC were all over it, reporting every moggy that was stuck up a tree and every minor fire. In 2005 British Airways were hit by their own wildcat action and the £45 million loss this caused them was widely reported. And when the posties walked out in 2007 the press and TV news were full of how many millions the strike was costing Royal Mail. This kind of narrative, which is usually wheeled out every time workers take action, is completely absent this time round. No reports of money lost. No reports of disruption or inconvenience. As the workers involved belong to a 'strategic' section of the working class (especially true of refinery and power station workers), I refuse to believe the actions are having no effect whatsoever.

This is a cross-section of localised reports on the strikes.

Lindsey - According to Total's press release, operating non-stop round-the-clock, the Lindsey Oil Refinery processes around 200,000 barrels of crude everyday. But the nearest we get to disruption comes from Humberside plod,
who say it is "impacting on the flow of traffic".

Sellafield - Monday's
press release blandly states 900 workers went on strike while Sellafield Ltd employees stayed in. It says "we are confident it will have no impact on safety, security or production."

Drax Power Station -
The Press claims the contractors were working on projects ancillary to power generation.

Coryton - About 150 on strike, but again, the
local press quote the refinery as business as usual.

Stanlow - Again, no disruption, as all the 500 workers, we are
led to believe, are maintenance workers and marginal to operations.

Grangemouth - 700 out, but again, nothing about loss of production.

In addition, the
CBI has put nothing I can see on their website, despite several press websites saying it gave Total its backing.

I don't believe in media conspiracies, but this is strange. Are the right wing press keeping it out their pages because, for the moment, they think the protests serve their anti-EU agenda?

Tuesday, 3 February 2009

Mainstream Bloggers on the Strikes

When significant events unfold there is a tendency for the left online to become a seething intense bubble of debate. I say bubble because we tend to be too busy discussing strategy and outcomes among ourselves than arguing outside the left, and pay scant attention to the views circulating outside of it. The two pieces for this blog on the wildcat strikes were certainly written with a left audience in mind. But what have the blogging commentariat at the other end of the political spectrum got to say on the matter?

The AVPS 'establishment' blog roll is a pretty representative cross section of mainstream blogging (i.e. Brownite Labour, Tories, LibDems and assorted madcap splinters), so this is a good place to start.

The new Labour List super blog, which has 54 (count 'em!) contributors has only now been able to muster a post on the strikes, and what thin gruel it is. Keith Vaz has this to say:
Traditional trade union values support the right to work of all workers equally. We should take great care when we try and create a right to work that is dependant on whether or not you have a British passport. Seeking to create opportunities to work that are based on the concept of citizenship that excludes those who are EU citizens or have indefinite right to remain in the UK is dangerous and wrong. It is an unnecessary political gift to the far right.
And that's it! Less a blog and more a press release, don't you think? Poor old Keith can't even bring himself to mention the 's' word - strike. We shouldn't be too surprised. It's been many a year since he uttered the other 's' word too.

What about other mainstream Labour bloggers? Recess Monkey? No. Luke Akehurst? No. Labour of Love? No. Hopi Sen? Nope. Sadie's Tavern? Not a sausage. At least Harry's Place mentions the strikes, albeit only as a (useful) expose of a BNP front group professing to support the workers.

What passes for comment and analysis barely improves on Vaz's piece. Mars Hill thinks the strike has an unpleasant atmosphere, and is not justified anyway. John Gray as a trade unionist has something a bit more substantial to say but doesn't even address the idea of supporting the strike. It's simply left up in the air. Kevin Maguire is much worse, putting all his hopes in Ed Miliband to sort it out(!) Lastly, blogging Labour MP, Tom Harris has a bit of fun ribbing the Tories because it raises the spectre of EU-related divisions. But once more, nothing on the strikes themselves - but any old foil will do to attack the Tories, eh?

The LibDems, well, what do they think? It's pretty difficult finding a LibDem blog that's been updated in the last few days - presumably they're all busy in the LibDem HQ basement churning out their celebrated 'we're winning here' and 'it's a two-horse race!' leaflets. Well I'm not complaining if there's less twaddle to wade through. First is LibDem superstar blogger, Alix Mortimer who suggests hiring British workers is in no real sense different from preferring to buy local. In fact, she says there's a business case for doing so. Wow, what an inspiring political message. Meanwhile, over at Liberal England, Jon Calder takes a trip to planet contradiction. Clearly he has sympathies for the workers' grievances (which is more than what the above Labour bloggers have managed), who he sees as globalisation's losers. And yet, he's convinced there's benefits for them too. As smart Compassite blogger Tom Miller notes in the comment box, "Well done. You have passed the initial module in 'becoming a socialist'. Next week we'll examine 'what can be done to solve these problems'."

Given the flag-waving and BJ4BW slogans, and the alleged support of the right-wing press, is it not reasonable to expect the Tories and their semi-detached "libertarian" ilk to be all over this story? Anyone looking for guidance from the Big Boys will find themselves titillated with snow puns, stat porn, unfunny cartoons and Twitter tweets. Such hubris will be their downfall, I tell you. But anyway, at least some Tories have had a stab. John Redwood supplies the analytical style he's known for, but prefers to use it as a means of showing off his anti-EU hobbyhorse. Yawn! Thoughtful Tory blog, Letters from a Tory worries about the political fall out of the strikes. New blog, Events Dear Boy, Events has been running wild with the strikes - but only as a means of popping Mandelson's pompous balloon. It falls to the "opinionated arrogance" of Dizzy Thinks to come to the rescue. He brings some clarity to the issue: "I certainly could never support secondary action ... those taking secondary action should be fired in my view, and the law on this matter should certainly be enforced. It is illegal to strike in sympathy at other strikers elsewhere, and quite right too." He goes on to blame welfare dependency and the "lazy Brit" addiction to it, and his solution would be cutting welfare even further. Well, at least we know where "Dizzy" stands, even if his outpourings owe more to opinionated ignorance than anything else.

I suppose when this typifies the sum total of mainstream blogging wisdom, you can understand why lefts prefer to debate among themselves.

In the mean time, the Socialist Party website will be running regular updates from Lindsey oil refinery.

Monday, 2 February 2009

Pride and Prejudice and Zombies

Hope comrades don't mind me taking a quick time out from super serious class struggle blogging to afflict this on you. I saw it this morning on Crooked Timber, and to say it has tickled me much is a slight understatement. Behold the blurb:
Pride and Prejudice and Zombies features the original text of Jane Austen's beloved novel with all-new scenes of bone-crunching zombie action. As our story opens, a mysterious plague has fallen upon the quiet English village of Meryton—and the dead are returning to life! Feisty heroine Elizabeth Bennet is determined to wipe out the zombie menace, but she's soon distracted by the arrival of the haughty and arrogant Mr. Darcy. What ensues is a delightful comedy of manners with plenty of civilized sparring between the two young lovers—and even more violent sparring on the blood-soaked battlefield as Elizabeth wages war against hordes of flesh-eating undead. Complete with 20 illustrations in the style of C. E. Brock (the original illustrator of Pride and Prejudice), this insanely funny expanded edition will introduce Jane Austen's classic novel to new legions of fans.
You can pre-order Pride and Prejudice and Zombies here.

Whatever next? A werewolf remix of Daniel Deronda? Great Expectations vs the Martians? Sounds bloody brilliant anyway.

Are there any "updated" classics and mash-ups you'd like to see?

Sunday, 1 February 2009

Lead Balloon

I am an irregular viewer of Lead Balloon on BBC Four. Last night, I watched repeats of all of series one on the Dave channel. This took some four hours and prevented my usual dash to my local for a couple before closing-time. But it was worth it. Lead Balloon makes wonderful comedy.

Jack Dee is superb as not-very-funny comedian Rick Spleen. Rick seems to be in a permanent state of irritation, but his melancholic lethargy normally prevents this niggling torment from exploding into anger. He is a complete shit! He is tight (despite somehow managing to earn a good living), and he lies and cheats incessantly in his usually-unsuccessful attempts to save money or advance his career.

His partner Mel (
Raquel Cassidy) seems oblivious to the worst sides of his character. She prefers to view him as a lovable if trying child and veers between treating his antics with resigned acceptance or mild but stifled amusement. She is like a mother who doesn’t shout because it's not the done thing for good parents.

But for me the star of the show is probably Magda (
Anna Crilly), their Russian au pair. She permanently has a face like a smacked arse. But she is clever. By being so morose, she erects a barrier between her and Rick and therefore avoids being manipulated by him. Then there is Marty, his American scriptwriter who I find just slightly irritating, but I am not sure why. There is Michael, the painfully-sensitive and wet owner of a café whose establishment Rick and Marty seem to visit every day. Rick has a daughter, Sam, who continually scrounges off her dad, ably assisted by her boyfriend, Ben. The only other regular in the cast is a neighbour, Clive, who periodically rings on Rick’s door to complain about something.

The programme is very middle class. It is set in a comfortable London suburb where the sun always seems to shine and the trees are always in leaf. The café is not my idea of a kaff. Bacon, eggs, bubble, black pudding and a fried slice are not on the menu. Poncy and pretentious twaddle such as ‘aubergines with parmesan cheese’ is. There never seems to be a shortage of money despite Rick’s frugality. Apart from the main characters, there a few cameos from people representing the lower orders - delivery drivers or shop assistants.

But I find it hilarious. The humour is subtle rather than in-your-face. There is no canned laughter, or sexual innuendo to get cheap laughs. If you never tried
Lead Balloon, I suggest you catch up on it. For me, it is probably the best comedy show I've seen in recent years.