Alexandria: the Last Nights of Cleopatra
Granta Books, 402pp, £25
Call them mortuary memoirs. Granta Books, Alexandria’s publisher, had a success in 2004 with The Smoking Diaries by Simon Gray (unstated subtitle – Smoking Kills But Not for a Little While Yet). They’ve pulled it off again. There is a persistent aimlessness in which ideas circle round a nucleus. What nucleus? The one that Henry James called the “distinguished thing”. Death.
Alexandria is dedicated to Stothard’s lifelong (while it lasted) and recently deceased friend “Maurice”. Tantalising initials are as far towards any surname we get. Peter and Maurice were bosom pals at school, room-mates at Oxford. As classicists, they shared a fascination with Cleopatra. It was only at university that a girlfriend, “V”, pointed out to Peter that Maurice was gay. In his innocence, he had missed such Keatsian clues as when his pal presented an invitingly bare thigh with “A thing of beauty . . .” inscribed on it.
Maurice went on to be something big in the pet-food industry. Stothard was the most successful editor of the Times in modern times and is now editor of the TLS. Both Stothard and Maurice developed pancreatic cancer at the same time. Something in their school milk, they speculate. The cruel disease killed Maurice but spared Stothard.
Maurice’s death, in 2010, inspired a spasm of mourning recklessness. A winter trip in January 2011 to South Africa was buggered up by airline problems. Stothard took off instead, by himself, for Alexandria. There he lodged in a seedy, once grand hotel. There is a striking vignette of him, in Room 114, unshaven, regarding a wound left, one deduces, by the surgeon’s curing knife. He tours the city in the company of a couple of local Virgils who know their history well enough to take an Oxford viva in it. Egypt is shaking with the fore-tremors of the Arab spring.
Stothard has brought with him seven attempts – from early childhood onwards – to write a life of Cleopatra. He more or less does it. He is as interested in Cleopatra’s death as her life. He pooh-poohs all that asp and basket of figs nonsense. A businesswoman like her (Margaret Thatcher is alluded to) would surely find more efficient ways to die.
Death hovers darkly over the book. There is a ghastly description of being a leader writer at the Times as “CDH” (Charles Douglas-Home), in his mid-forties, dies slowly, gallantly and painfully of cancer, issuing his editorial instructions by “squawk box”, his voice blurred by morphine.
The loose-knittedness of Alexandria encourages Jack Hornerism. For me, the richest plums in the pudding are the digressions on Stothard’s background. It is similar to my own. He was Essex-born, “respectable” lower class, raised in a virtually bookless house, grammar-school and first-generation university- educated. I’m 12 years older and have been less successful in every one of our life parallelisms. I, too, however, am a “Person With Cancer” (prostate). And I like to think I recognise the mood in which this book was conceived. You feel a kind of morituri, with no one to salute. You’re in “remission” – which should, for many, be called “intermission”. As the man in the movie says, “I’ll be back.” Or perhaps not. The scythe may strike elsewhere on the body (or, most horribly, the mind). Or the person standing next to you.
Why Alexandria? Ostensibly to get that damned elusive Cleopatra book written. But the underlying reason, one suspects, was that the Egyptians, whose classic text is The Book of the Dead, laboured against biological fact to keep the dead alive – with their paraphernalia of mummies, pyramids, sarcophagi and sphinxes. And, above all, with libraries. Stothard muses at length about the Library of Alexandria. Its huge collection, he suggests, has framed our modern mind by cataloguing, listing and “rationalising” the preserved relics of the human mind. Libraries are places where the thoughts of the dead live on. There are 18 million books in the British Library, 99 per cent of them, I would hazard, by now dead authors. Wear black the next time you join the morning queue stretching back, nowadays, to the Euston Road.
One of my favourite allegories of cultural life is that of the artist Chris Ofili, who went to Zimbabwe to look at elephants. He never saw one but on his safari he came across mounds of elephant dung. He packed his suitcase with the stuff and flew back (“Anything to declare, sir?”) to England, where he created such works of art as Painting with Shit on it. Peter Stothard has brought back from his quixotic North African jaunt the materials of a very fine book indeed. No shit.