Reviews Round-Up

The critics' verdicts on Jonathan Sacks, Simon Mawer and Andrew Blum.

The Great Partnership: God, Science and the Search for Meaning by Jonathan Sacks

The purpose of Jonathan Sacks’s book is not to prove the existence of God, writes Ziauddin Sardar in the Independent, but to demonstrate that it is “quite possible for a rational person to hold religious beliefs”. With “extensive erudition”, Sacks tours the sacred texts of Judaism and Christianity and addresses the thoughts of atheists and philosophers in his quest to promote tolerance and challenge religious dogma, which he sees as a primary cause of evil in the world.

Sack’s central argument, that the meaning of a system must lie outside that system, is problematic, says Sardar: “It is easier to argue for the need for something beyond, more difficult to argue for a deity… It would have been more original to argue why God is needed in the first place.” The message that science and religion, explanation and meaning, are complementary is also unoriginal: “Sacks is rather unfamiliar with the rich heritage of Islamic discourse on reason and revelation,” says Sardar.

The exploration of classical Greek and Hebrew thought, though, is “quite brilliant”. Sacks makes “mincemeat” of the “primary school” arguments of militant atheists like Richard Dawkins, says Sardar. And he shows “courage and integrity” on the problems of institutionalised religion: “the warning about the entrapments of power and the need for humility will not sit easily with his colleagues – here in Britain and in Israel. That, in my opinion, only enhances his stature.”

Writing in the Guardian, Richard Holloway agrees: “The compelling thing about Sacks is the passion with which he insists that only God can save us from the tragedy of nothingness.”

The book’s Wittgensteinian argument that “the universe cannot mean itself, only that which lies outside it” leads to an “awkward place”, admits Holloway. For Sacks, the fate of civilization lies in its answer to the God question: while "individuals can live without meaning, societies in the long run cannot". He thus makes the “large claim” that only God can supply the meaning we need. But “what makes Sacks such an attractive combatant in today's wars of religion is the passion with which he engages in the conflict,” says Holloway. “His argument may not persuade, but his passion almost does.”

 

The Girl Who Fell From the Sky by Simon Mawer

Simon Mawer’s novel about a bilingual girl recruited into the Special Operations Executive, the Second World War European spy network in which 39 women operated, is not without precedent, writes Alex Preston in last week’s New Statesman. Echoes of Sebastian Faulks’s Charlotte Gray abound as Marian Sutro, Mawer’s heroine, leaves her francophone childhood and embarks on a life of danger and excitement as “Alice”, a secret agent dropped into south-western France. The “conceit of nomenclature males the reading of what would otherwise be a fairly straightforward book more difficult and interesting,” says Preston. It forces us to “think about our own role, as readers, in the construction of these simulcra of real people.”

Writing in the Telegraph, Philip Womack calls the book “slick and thrilling and grown-up, like a slightly seedy uncle who smokes, drinks whisky and is always off seeing a man about a dog.” A spy is not necessarily an attractive protagonist, he says, but Mawer “gives us some compelling insights into Sutro – above all, her bravery, and her almost elemental need for risk, as when she jumps out of the plane.” The writing is “smoothly sophisticated” and “full of well-observed phrases,” he says.

“Mawer's wartime textures are extraordinary,” agrees Rachel Cooke in the Guardian: “no page ever reeks of the library; his set pieces are so beautiful you want to read them two or three times over.” While The Girl Who Fell from the Sky cannot match Mawer’s Man Booker-nominated novel The Glass Room, it is “beautifully done”, the precision at times rendering the author “more cartographer than novelist”. The heroine would have been more interesting had she not been “predictably beautiful”, says Cooke. But the overriding message is one of hope: “as numinous as faith, and twice as powerful… you apprehend its loss even as the strange ecstasy of it drives you on.”

 

Tubes: Behind the Scenes at the Internet by Andrew Blum

“The answer to what the internet is,” writes Helen Lewis in last week’s New Statesman, “is cables – and what’s inside them, which is pulses of light flashing a million times a second.” In Tubes: Behind the Scenes at the Internet Andrew Blum journeys across Milwaukee, Texas, Wisconsin, Frankfurt, Amsterdam and even Cornwall to satisfy his curiosity about the internet after a squirrel chewed through his broadband cable, slowing his connection. He wants to know: what happens when you send an email? Where is your Facebook page when you’re not looking at it? What exactly is the world wide web?

Blum sees cables that join together, speeding up the US internet by a fraction, cables that run under the sea, cables in underground hoses in New York. We “occasionally stray close to a good anecdote,” says Lewis. The “sloppily dressed” man who sparked terrorism fears when he appeared at a data centre in Oregon in 2004 requesting huge amounts of data turned out to be an employee from Google. The company is fiercely private as rivals are desperate for information about its engineering.

The most important question raised by the book, though, is never asked, says Lewis. There are mentions of the precariousness of the internet – an engineer from Texas-based Nanog (North American Network Operators’ Group) admits he once cut off Australia because it didn’t pay its phone bill. But if the web is so fragile and so vital, are we doing enough to protect it? “As we put ever more of our lives into ‘the cloud’,” she asks, “are we sure it’s safe there?”

Google's computer centre in the Dalles, Oregon (Photo: Craig Mitchelldyer/Getty Images)
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How Dame Vera Lynn was told to “posh her accent up”

Radio 2’s 100th-birthday tribute reveals how Lynn was forced to change her voice.

“I remember seeing her near an elephant, and this elephant rolled over a bit and she had to get out of the way . . .” Vic Knibb, the vice-chairman of the veterans’ group the Burma Star Association, was one of the thousands of British soldiers serving in the Far East during the Second World War who came across Vera Lynn in the jungle, singing from the back of a Jeep, accompanied by an out-of-tune piano.

Speaking in Radio 2’s celebration of the singer’s 100th birthday, Vera Lynn: the Sweetheart of the United Kingdom (Sunday 19 March, 8pm), Knibb and others recalled what it meant to them that Lynn travelled so far to perform for the so-called Forgotten Army in Burma. Unlike other entertainers, who stayed in Europe or visited only military hospitals in the UK, she deliberately went where few others did – where she felt she was needed by “the boys”.

The programme, which featured a rare interview with Lynn herself, was dominated by clips of her recordings from the Thirties and Forties. We heard frequent extracts from “The White Cliffs of Dover”, “We’ll Meet Again” and “A Nightingale Sang in Berkeley Square”. The contrast between these two voices, separated by more than six decades, was the most arresting thing this otherwise pedestrian documentary had to offer. The now gravelly-voiced centenarian sang, in her youth, with a smooth, effortless-sounding tone and crystal-clear diction. But how did the cockney daughter of a plumber from East Ham end up singing with received pronunciation?

The answer, as ever in Britain, is class. Lynn had no formal musical training, and as she had been performing in working men’s clubs from the age of seven, she was considered closer to a musical-hall crooner than a “proper” singer. But with her small vocal range and flawless self-taught technique, she chose her own songs to suit her voice. The BBC, for which she made her hugely popular radio show Sincerely Yours, requested that she take elocution lessons to “posh her accent up” and even at one point took her show off air for 18 months. “Every­body’s Sweetheart” wasn’t immune from snobbishness, it seems. 

Caroline Crampton is assistant editor of the New Statesman. She writes a weekly podcast column.

This article first appeared in the 23 March 2017 issue of the New Statesman, Trump's permanent revolution