I was working at the Evening Standard when I heard that there was a job going as deputy literary editor on the New Statesman. I remember thinking, that’s perfect. It was three days a week and I had children, but I could make that work – so I applied for it and got it. That was in 1968; Paul Johnson was the editor and Anthony Thwaite the literary editor. When Anthony went for his holiday the next summer, he said, “I’m off for a month and I haven’t really set anything up,” and it was an absolutely divine moment. I had a headache for a month and the best time of my life.
It was a very good time in literature. Criticism was taken seriously. There were lots of young dons in the universities – people such as Alan Ryan and Alasdair Macintyre, who were full of enthusiasm. I also had a very strong feeling about the tradition of the back half of the New Statesman: earlier literary editors had included Desmond MacCarthy, David Garnett, Harold Nicolson – really good people. Above all, Victor Pritchett, who had been literary editor and who was still writing for the paper, which was marvellous. I learned so much from him about how to write, just from looking at the way he constructed a review. He would write out his copy and his wife, Dorothy, would type it out very badly and he would go over it and it would be covered in spidery marks. His light touch was wonderful – you just felt it was the most natural thing in the world. Terence Kilmartin on the Observer taught me a great deal about how book pages should be run. He thought every week there should be at least one word that readers had to go and look up. He was not a believer in making everything easy for everybody but he had good judgement about how you approach reviewing. He didn’t try to be too clever.
I thought it was a glorious thing to be a critic and to be a literary editor, and one was really doing something that mattered: to keep up standards, to take books seriously. The offices then were in Great Turnstile, on the corner of Lincoln’s Inn Fields. The literary offices were upstairs and you came to recognise the steps of different contributors because everybody brought their copy in. It was before technology. It was an extraordinary time – the Vietnam war, les événements in Paris, Harold Wilson. I remember in 1968 marching round Grosvenor Square with Eric Hobsbawm, holding his arm, protesting against the Vietnam war.
I was the deputy until I left, just before I had my son Tom. When I was off, I wrote a piece about Mary Wollstonecraft and got letters from publishers and agents saying you must write a book about her. I decided to do it but just as I finished, my husband [the journalist Nick Tomalin] was killed in Israel reporting on the Yom Kippur war. By then, Anthony had left, John Gross was the literary editor and Tony Howard was the editor. John said to me, I’m going to edit the TLS and you must come and be literary editor here. So I went back in 1973.
In my first issue I had a full-page poem by Clive James. I had very good critics: Jonathan Raban, Shiva Naipaul, Marina Warner, Hilary Spurling, Paul Theroux, Dennis Enright. We had parties, lunches – we used to sell the review copies to pay for the drinks. I gave Martin Amis his job – he was working on the TLS and I read his first novel, The Rachel Papers, and thought he was much better than Kingsley. Tony was very keen to get him, so we offered him a job as my deputy. Tony was very good at spotting talent – he had Christopher Hitchens and James Fenton, too. It was a nursery of talent. We knew Julian Barnes and we wanted a new television critic. He applied for the job and Martin and I interviewed him. He was very funny. There was some rivalry because Clive James was a famously wonderful television critic for the Observer, but Julian built up a very good following.
It was also a time when feminism was stirring, which was very important. Increasingly, books came in that were polemical, from writers such as Eva Figes and Germaine Greer. There was also much more editing of diaries and letters – of Virginia Woolf and 19th-century writers who hadn’t been edited and published before. I liked reviewing books about women that hadn’t been much noticed.
When I wrote about Mary Wollstonecraft I found that here she was, in the late 18th century, going to work for the Analytical Review. What was the Analytical Review? It was a magazine that dealt with politics and literature. I thought this is too ridiculous that this tradition is so old and so powerful – but it just is a very, very good way of doing a weekly magazine. I have been left-wing always, from childhood. My father was a socialist and my grandfather was a socialist and I remember the 1945 election and the excitement of that. So to go to work for the New Statesman I felt was a thoroughly good thing and I was extremely happy there.
Claire Tomalin’s most recent book is “Charles Dickens: a Life” (Penguin, £9.99)