December has a way of creeping up on you. It seems just a few weeks since summer was here and Abbas was making hay in the Alps.

2008 has been a year of fear and hope. Mighty financial institutions have collapsed overnight and America has elected its first African-American President. Apparently, Reinhold Niebuhr and Nietzsche are among Barack Obama’s favorite authors, although I can’t imagine he has had much time for reading this year. Which is a pity as there have been some great non-fiction titles published in 2008.

For me one of the most memorable was Proust and the Squid: The Story and Science of the Reading Brain by Maryanne Wolf (published in the UK this year by Icon). It’s an enthralling celebration of the science and "complex beauty of the reading process". In evolutionary terms, reading is a recently acquired cultural invention that uses existing brain structures for a radically new skill. Unlike vision or speech, there is no direct genetic programme passing reading on to future generations. It is an unnatural process that has to be learnt by each individual.

As director of the Center for Reading and Language Research at Tufts University in Boston, Wolf works with readers of all ages, but particularly those with dyslexia, a condition that proves "our brains were never wired to read". Wolf therefore has much of practical value to say about why some people have difficulty reading and how to overcome this. Reading stories to pre-school children is crucial, she says, as it encourages the formation of circuits in the brain, as well as imparting essential information about fighting dragons and marrying princes.

Wolf's story of the development of the reading brain covers many fields, from linguistics, archaeology and education to history, literature and neuroscience. In particular, she highlights the brain's astonishing plasticity, its "protean capacity" to reorganise itself to learn new skills. According to Wolf, we are all born with the "capacity to change what is given to us by nature.” Right from the cradle we are “genetically poised for breakthroughs”. She memorably paraphrases Darwin: “biologically and intellectually, reading allows the species to go ‘beyond the information given’ to create endless thoughts most beautiful and wonderful”.

For thousands of years, the process of engaging with texts has enriched us, both existentially and - as Wolf's remarkable book shows - biologically. Different languages put their own unique stamp on the brain, creating distinctive brain networks. Reading Chinese requires a different set of neuronal connections from those needed to read English. As the writer Joseph Epstein has said, "we are what we read". Doctors treating a bilingual person who developed alexia (inability to read) after a stroke found astonishing evidence of this. Although he could no longer read English, the patient was still able to read Chinese.

2008 was unquestionably China’s year. From terrible earthquakes to space walks and, of course, the Olympics, China was rarely out of the headlines. Out of this year’s red tide of titles about this endlessly fascinating country, I found two particularly memorable: China: A-Z, by Kai Strittmatter (Haus) and China: Empire of Living Symbols, by Cecilia Lindqvist (Da Capo). Both use language as a springboard to explore Chinese culture and history.

For Strittmatter, a German correspondent in Beijing for 10 years, China is "a land of contradictions". (This reminds me of Bohr’s delightful comment: “How wonderful that we have met with a paradox. Now we have some hope of making progress.”) After spending two decades in a Maoist labour camp, author Zhang Xianliang says: “it’s because China is a mystery, that it's so dear to me”. He is now a member of the Communist party and a successful businessman. Bend, adapt and move on seems to be the lesson here. Perhaps the Chinese have learnt this philosophy from one of their most beautiful plants – bamboo.

“No plant moves me as profoundly as bamboo,” writes Lindqvist, “most of all the sound of its thin, dry leaves as they rustle in the wind.” I agree completely. One of the first things we did in our garden was plant bamboo. I can see it now from my desk, swaying sensuously. In storms it can be blown almost flat but the next day it is upright again. According to Lindqvist, the resilience of this wonderful grass taught the Chinese a powerful lesson about how to face difficulties: “Bend, adapt, of course, but never abandon ideals. Never be defeated. Other winds will blow, all in good time.”

There are, of course, many Chinas - it is a vast continent unified by a common language, standardised as far back as 221 BC. In Strittmatter’s "pocket dictionary" of Chinese culture, it is "the magic of the characters themselves" that tells the story of this paradoxical land. An entry in his book about the family (jia) highlights the importance of the Confucian virtue of service. For the Chinese that means "sometimes serving the state, generally the family, and always the parents". In a discussion of chopsticks (kuai zi) he notes drily, and entirely accurately, that they are primarily an "instrument for measuring a foreigner's ability to integrate". From gan bei (cheers) to why xiao zi (petty bourgeois) was once an insult but is now cool (ku), this is a delightfully witty and insightful guide to today's China.

Lindqvist’s remarkable study broke new ground when it was first published in Sweden nearly twenty years ago. Reissued this year, her book explores the origins of modern Chinese writing in pictures and objects over 3,000 years old, such as oracle bones. An art historian who spent her life studying Chinese culture, Lindqvist weaves archaeological evidence of the earliest Chinese characters together with the country's history to demonstrate China's unique cultural continuity. It's believed written language arose first in Mesopotamia, although Wolf cites recent evidence that suggests Egyptian hieroglyphs may be older than even Sumerian cuneiform writing. No one uses either today, but modern Chinese script is recognisably similar to the earliest forms of writing in the region. China “is a continuation in direct lineal descent from the culture that arose in the long valley of the Yellow River during the 5th millennium before the beginning of our calendar.”

Lindqvist shows how the oldest characters are representational ("man" depicts a person in profile and dates back to the earliest oracle bones) and these remain part of today's language. In this beautifully written and illustrated book, language and images come together to tell a common story about the rootedness of the modern script in the ancient signs. Drawing on her long experience of the country - its sights, sounds and tastes (including a few recipes, such as pork with bamboo, onions and dried mushrooms) - Lindqvist creates an evocative and compelling celebration of language as a carrier of culture.

Another book that memorably explored our love affair with language this year was Off the Page: Writers Talk About Beginnings, Endings and Everything in Between, edited by Carole Burns (Norton) As a non-fiction writer, I have immense admiration for what novelists do with language. It seems to me fiction is a kind of alchemy, a mix of science and magic, fact and poetry. Attempts to explain this process often fall flat. But not Burns’ book. She interviews 43 authors about the writing life, from the nuts and bolts of fiction (how to breathe life into a character) to more general comments on inspiration and influences. AS Byatt starts her novels with a "block of colour" ("Babel Tower is black and red, because of blood and destruction"). For Paul Auster the story comes first: "I find the book in the process of writing it".

All agree on one thing: writing and rewriting is never easy. Joyce Carol Oates finds the first draft the hardest: it's "like hacking one's way through a thick jungle with something like a butter knife". Richard Bausch recalls how he wrote an entire 800-page novel before deciding it was really a short story. The process of cutting it down to size was, he says, like passing a kidney stone. Ouch. “Everyone goes a little mad as a writer", says Alison Smith, and most interviewees agree. Even Martin Amis admits to the occasional "crazy-scientist cackle" while writing.

I sympathise. After finishing my last book (it took over three years), I just wanted to lie in a dark room and listen to soothing music. But I guess all writers are suckers for punishment – I’ve just started researching a new book: a cultural history of cities. It’s a fascinating time to be writing about urban history – this year we officially became an urban species with more people living in cities than in rural areas. There are of course many wonderful books about urban history. John Reader’s excellent Cities (2004) for one, and Peter Hall’s masterly Cities in Civilization (1998) which focuses on cities as centres of innovation and creativity. Interestingly, Hall only mentions China a few times in 1169 pages – a sign, perhaps, of how fast the world is changing and the astonishing rate of urbanisation in recent years. By 2020, there will be ten cities with more than twenty million citizens, gargantuan cities such as Jakarta, Delhi, Mexico City, São Paulo, New York, and Tokyo.

As it turns out, 2008 has been a vintage year for urban studies. Gail Fenske’s beautifully illustrated biography of the Woolworth Building, The Skyscraper and the City (Chicago), is one of my favourites. It is a superb study of the New York skyscraper that became emblematic of the world’s first signature skyline. Cass Gilbert’s inspiring cathedral to commerce opened in 1913. This Gothic spire offered New Yorkers passing by on the sidewalk “an experience of sheer vertical ascent unrivalled by the taller but stepped-back skyscrapers of the 1920s”. Fenske tells the fascinating story of this building’s inspiration, design, construction and its place in the city that has come to define the modern metropolis. The pinnacled tower no longer dominates New York’s vertiginous skyline but it remains a monument to the soaring ambition of its owner and architect, as well as to human aspiration and the desire to conquer vertical space.

Once it was London that broke all urban records, from size to pollution. On Brick Lane by Rachel Lichtenstein (out in paperback from Penguin in the UK) is a wonderfully evocative and personal portrait of a part of the East End of London that has been home to successive waves of immigrants. Chicksand Street, off Brick Lane, is where Bram Stoker’s Dracula slept in a coffin of Transylvanian earth. In the seventeenth century the Huguenots arrived, later there were Jews from Eastern Europe (including Lichtenstein’s own grandparents) and now it is home to a thriving Bangladeshi community. An artist, Lichtenstein has lived and worked in Brick Lane since the 1990s. She evocatively weaves together her own experiences with those of her family and interviews with former and current residents, ranging from a Bangladeshi schoolgirl ("Brick Lane is like a part of Bangladesh"), to the footloose London author Iain Sinclair, who used to work in the 300-year-old Truman brewery, and the poet Stephen Watts, who tells her: "There is a tidal wave of sound and memory rushing down that street."

The “sensory encounter” with cities is the subject of Dell Upton’s Another City: Urban Life and Urban Spaces in the New American Republic, published this year by Yale. The stench and cacophony of early nineteenth-century American cities must have been terrible, judging from Upton’s impressive research. Using travel journals, diaries, and letters he shows how the “insistent and importunate sights, sounds and smells surpassed anything previously known in the new nation”. To read his book is to be immersed in the sensations of the city.

In New York, “public porkers” roamed the streets up until the middle of the nineteenth century. Indeed, horses, cattle, and goats shared the city with their two-legged owners. Most American cities had no drainage systems and rubbish was thrown out into the street forming a putrefying heap known as “corporation pie”, until scavengers hired by the city disposed of it. Upton argues convincingly that the experience of living in noisy, stinking antebellum cities spurred a reformist desire in many urban communities to realize the ideal of a shining city upon a hill: “The relics of civilized life that bombarded the senses, and the mixed throngs that crowded the streets of antebellum cities, were the crucible within which city dwellers formed a sense of what it meant to be a citizen of a republican city.”

Of course, building Utopia is easier said than done, as Robert H. Kargon and Arthur P. Molella show in Invented Edens: Techno-Cities of the Twentieth Century (MIT). Modernist reformers embraced technological solutions to solve nineteenth-century urban problems such as congestion, pollution and disease. From Ebenezer Howard’s seminal notion of the “Garden City” in the 1890s, to the new urbanist Celebration in Florida in the 1990s, Kargon and Molella argue that the techno-city was a bold social experiment, but one that in the end was doomed to failure. For despite using the latest technology, at the heart of these ideal cities was a nostalgic yearning for small-town life. What the authors term “techno-nostalgia” created a fatal fault line running through the techno-city: “the machine in the garden is a seductive dream, but a problematic reality”.

Kargon and Molella also discuss Oak Ridge in East Tennessee, a once secret city created as part of the Manhattan Project. The plan for this techno-city was inspired by the same nostalgic yearning for an idealized garden city, with tree-lined streets and “organic clusters” of houses. There is, however, a shocking irony about the fact that the people who lived in this utopian city were building a superweapon designed for one purpose – to annihilate cities.

The nuclear age is the subject of Nathan Hodge and Sharon Weinberger’s entertaining and informative A Nuclear Family Vacation : Travels in the World of Atomic Weaponry (Bloomsbury). Where are you going for your holidays next year? How about the Semipalatinsk Test Site in the former Soviet republic of Kazakhstan? It is, apparently, a bona fide tourist destination. But remember to pack your Geiger counter and iodine tablets. As Hodge and Weinberger discover, the site is still highly radioactive. Most of the cold war scientists who lived in the nearby secret nuclear city of Kurchatov have now returned to Russia, but some technicians remain. Asked about the measures they took to protect themselves from radioactivity, one replies dryly: "Before every test, we drank grain alcohol."

Hodge and Weinberger are a husband-and-wife team of defense reporters turned nuclear tourists. As the title suggests, the authors did indeed visit many of the places during their holidays: everywhere from Iran's Esfahan Uranium Conversion Facility, which supplies material to the top-secret uranium enrichment facility at Natanz, to the Nevada Test Site (a "sandbox for nuclear weapons designers"), and the Cheyenne Mountain bunker ("the ultimate cold war retreat"). In Los Alamos, where the first atomic bombs were designed, the authors noticed that the scientists sometimes had pictures of their favorite nuclear tests hanging above their desks and could describe, "in loving detail, the very personal reasons for their choices". One scientist even named his son after the 1952 Ivy Mike H-bomb test. But Los Alamos hasn't designed a new nuke since the 1980s, and has become little more than a "repair shop for nuclear weapons". The scientists are not happy: "the mood at the lab hovered somewhere between depression and despair".

Revealingly, although Hodge and Weinberger interviewed many politicians and scientists, they failed to find anyone who could say what the purpose of the nuclear arsenal is now. The nuclear weapons industry, costing billions of dollars a year, is an enterprise that has "lost its way". Their important conclusion is that it is time for the US to think the unthinkable and "explore practical options for eliminating the nuclear arsenal".

No doubt that’s a policy Noam Chomsky would support. In Interventions, which appeared in the UK in paperback this year, he notes that the US spends as much on its military as the rest of the world combined. Another shocking fact: apparently the essays in this collection by one of today’s leading public intellectuals have been published in newspapers all around the world, but were largely ignored in the US.

According to Chomsky, the tacit assumption guiding all US foreign policy is now "we own the world, so what does it matter what others think?". From Iraq and the war on terror, to Iran's nuclear ambitions and US support for Israel, he accuses Washington of accelerating the race to destruction. Hopefully, America will soon be turning over a new leaf under President Obama. Lead me to that radiant city upon a hill…

Reden nur dort möglich ist, wo man lügen will.

There is something about Kafka’s writing that gets under your skin. Perhaps that’s because he was always so uneasy in his own skin. Kafka described it as “a garment but also a straitjacket and fate”, suggesting that he saw skin as both clothing, something you choose to wear for a day before shedding, but also as a tightly bound involucre, restricting and suffocating the self – a biological fait accompli and a life sentence. Only Kafka could react so ambivalently and with such psychological acuity towards something most people take for granted and indeed scarcely think about.

It brings to mind Kafka’s story “In the Penal Settlement” with its glass punishment machine and its teeth-like rows of gleaming needles. The offender is strapped into this sadistic device and the laws he has broken are slowly and painfully incised into his skin. The operator praises its redemptive effects on the criminal: “how quiet he grows at just about the sixth hour! Enlightenment comes to the most dull-witted. It begins around the eyes. From there it radiates.” [1] After twelve hours of agony and of learning the meaning of the law through his skin, the coup de grâce is administered to the prisoner and the emblazoned body dumped in a ditch. “Like a dog,” as Josef K. says at the end of The Trial.

It is one of Kafka’s most grotesque stories, one that swings sickeningly between cruelty and humanity. As ever with Kafka, paradox and ambiguity are fundamental. I remember how, as a student, some of my friends were utterly repulsed by this story, unable to see past the horrific details to the chilling vision of human strangeness beneath. As I read it again today I am reassured to find it has lost none of its disturbing intensity. I can’t say that it is my favourite Kafka story, although it is uniquely Kafkaesque, to invoke that tired old cliché.

“The Judgement”, “Metamorphosis”, “A Country Doctor” – all wonderfully strange stories that share the sense of being caught up in a nightmare, where normal expectations are shattered and nothing seems to make sense any more. Reading Kafka is the literary equivalent of an earthquake: as you read, you can feel the walls of reality begin to tremble and shake until eventually they come tumbling down around your ears. At the end, you find yourself wandering in an unfamiliar wasteland. All around are scattered the jumbled fragments of what you once recognised as normal life. Now you, the reader, have to begin putting Humpty-Dumpty back together again.

Kafka has been in the news recently. His friend and executor, Max Brod, died in 1968, leaving a suitcase of Kafka’s writings to his former secretary and lover, Esther Hoffe. Ever since then she has guarded it jealously in her Tel Aviv flat. The conditions were far from ideal. Warnings that the documents might be damaged by damp went unheeded. Until two years ago she shared her flat with a menagerie of cats and dogs. Then her neighbours finally complained about the stench and they were removed by health inspectors. Now, at the age of 101, Hoffe has died, leaving the Kafka cache to her septuagenarian daughters.

Among the papers are Brod’s diaries (sold to a German publisher for a five-figure sum in the 1980s but as yet undelivered), letters by Kafka as well as his travel journal, postcards, sketches and some of his personal belongings. A decade ago Hoffe sold Brod’s manuscript of The Trial for £1 million at auction. How much the remaining documents are worth can only be guessed. But obviously this is a gold mine for Kafka scholars. Josef Cermak, author of several studies of the Czech-Jewish author, told the Guardian: “There are so many mistruths which have been written about Kafka. For academic purposes it is crucial that we get to see what the unpredictable Miss Hoffe has kept from us for so long.” [2]

I’m as intrigued as everyone else by what the Kafka suitcase contains. Indeed its history has something delightfully Kafkaesque about it. I’m sure countless TV producers have spotted this and are at this very minute flocking to Tel Aviv to make their documentaries. (Part of me hopes that when they open the case, no doubt on live TV, all it contains are a few startled cockroaches.)

The private lives of famous writers and scientists are fascinating. Reading Einstein’s correspondence gives you an astonishingly detailed picture of the man behind relativity. And anyone can do it now thanks to the Princeton University Press’s superb edition of his Collected Papers. Of course, you don’t need to read Einstein’s letters to Mileva (his “sweet little witch”, as he described her in 1901) to understand relativity, although they do place the science in a wonderfully human context. But people will read whatever the Kafka cache contains looking for clues that might explain his fiction.

And why not indeed? Literature, I hear you say, is different from science. It’s subjective and personal, for a start. Sure, but it’s also a public activity in the sense that most of Kafka’s writing was meant to be read by other people. Unlike Leonardo da Vinci and Newton who used mirror writing or coded language in their notebooks to obscure their words, Kafka wanted to tell us something important. He didn’t set out to create a series of coded autobiographical puzzles in order to keep future literary historians in a job. The Germanist Martin Swales argues convincingly that the obsession with Kafka’s private life does not help us to understand Kafka’s writing: “an unremitting interest in the personality behind the utterance suggests that the utterance has in some way broken down”. [3]

In a recent article, Zadie Smith has suggested that Kafka is “a writer sullied by our attempts to define him”. [4] Novelist James Hawes, author of a new book called Excavating Kafka, seems to agree: “The myth of Kafka's life so overshadows what he wrote that millions who have never read a word of his know, or think they know, something about the middle-European Nostradamus, almost unknown in his own lifetime, trapped in a dead-end job, whose mysterious, endlessly interpretable works somehow foresaw the Holocaust (and so on).” [5]

Hawes spent ten years writing a Ph.D. on Kafka. Now he is on a mission to deconstruct the “hagiographic myth” surrounding the Prague author in order to expose the real Kafka. His works are “wonderful black comedies written by a man soaked in the writings of his predecessors and of his own day”. Indeed, Max Brod provides some evidence of this comedic dimension to Kafka’s works. He recalled Kafka reading aloud from The Trial. At times, he said, Kafka “laughed so much that there were moments when he couldn't read any further”. This Kafka has been somewhat obscured, but he’s certainly there, struggling to free himself from the chitinous, beetle-like skin into which fate and literary fame has sealed him.

It was always a challenge teaching first year classes on Kafka, but rewarding too. Undergraduates rarely did any preparation for German lit classes (wie immer) and so they turned up knowing very little about him apart from a general expectation that the man who gave us the term Kafkaesque had to be pretty weird. They weren’t disappointed on that score. We had three hour-long sessions dissecting the short story “Das Urteil” (“The Judgement”), reading it in German, line by line, often word by word, slowing down the process of reading as if you were analyzing a film frame by frame.

At some point, usually towards the end of the sessions, I would explain some details from Kafka’s life. For many of the students, the biographical information transformed what was a deeply strange, even incomprehensible, reading experience. Suddenly, as if by magic, it all seemed to make sense. Why didn’t you tell us this before, they wanted to know. Kafka’s writing was psychology in action, a cathartic release. Kafka, frantically scribbling in his room late at night, was assuaging his guilt for failing to live up to parental expectations, doing penance for breaking unwritten laws, and so on.

The process of reading a text, line by line, is hard work. Not quite as hard work as writing it, perhaps, but almost. Biographical interpretations are an excuse for lazy reading. Using an author’s life to crack the code of his texts is just too easy. There are no shortcuts to interpretation. That was why I spent three hours reading ten pages of Kafka with my students.

It’s only through this intense engagement with a text that a reader can feel what Terry Eagleton has memorably called that “moment of wondering self-estrangement” which is unique to the aesthetic experience. [6] It was the Russian Formalists who first proposed the idea of defamiliarization, or ostranenie in Russian. In “Art as Technique” (1917) Victor Shklovsky explained what this meant:

“Habitualization devours works, clothes, furniture, one’s wife, and the fear of war. … And art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony. The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects ‘unfamiliar’, to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object; the object is not important.” [7]

This is one of the most perceptive and powerful statements about the purpose of art and its ability to transform our way of seeing that I know. As in metafiction, the defamiliarizing artwork places the reader centre stage: you are no longer a passive decoder of signs but actively interpreting, constructing theories and being challenged. And it highlights something which is so often lost in today’s qualification-driven education system – reading literature can actually change people, change how they see the world. It can make the stone stony.

I was reminded of this recently when reading neuroscientist Maryanne Wolf’s Proust and the Squid. In her fascinating book, Wolf shows how learning to read changes individual brains forever, both intellectually and physiologically. Indeed, different languages put their own unique stamp on the brain, creating distinctive brain networks. Reading Chinese requires a different set of neuronal connections from that needed to read English. As the writer Joseph Epstein has said, “we are what we read”. Indeed, doctors treating a bilingual person who developed alexia (inability to read) after a stroke found remarkable evidence of this. Although he could no longer read English, the patient was still able to read Chinese.

Of course, Kafka didn’t need lessons from Shklovsky or anyone on how to make the world strange. In a wonderful comment, he once disagreed with a friend who accused Picasso of distorting reality. “I do not think so,” said Kafka. “He only registers the deformities which have not yet penetrated our consciousness. Art is a mirror, which goes ‘fast,’ like a watch—sometimes.” [8]

Kafka’s story “Josephine the Singer, or the Mouse-folk” explores this idea. I first read it at university when I was studying German literature and it has haunted me ever since. (I even named my website after it.) It was written in March 1924, three months before Kafka died. He was in the last stages of tuberculosis of the larynx, and was unable to speak – a poignant background for a story about a singer. But it was Kafka’s writing, not his tragic life, that made such an impression on me.

The story is about a singer and her place in the community. The fact that Kafka chooses to make this a community of mice can itself be seen as an example of making strange: what better way to explore the role of the artist in society than to defamiliarize the artist by turning her into a mouse? In fact mice are only mentioned by name in the title and if this is ignored, then the world described could easily be our own. Similarly, although Josephine is described as a “singer” in the title, she does not sing in the story, but whistles, pipes or squeaks, depending on your translation (“pfeift” in the original German), thus defamiliarizing the act of singing itself. Subtly and with immense skill, Kafka’s language begins to change our perceptions from the very first words.

The unnamed narrator is writing about Josephine in order to understand why she played such an important role in their society. For Josephine has disappeared and despite the narrator’s evident ambivalence about her, it is clear she has left a hole at the heart of their community. As he thinks critically about Josephine, the narrator begins to wonder whether the fascination he feels for her art lies not in the art itself – the singing or “Pfeifen” – but rather in its context, in the fact of it being set apart from everyday life:

“To crack a nut is truly no feat, so no one would ever dare to collect an audience in order to entertain it with nut-cracking. But if all the same one does do that and succeeds in entertaining the public, then it cannot be a matter of simple nut-cracking. Or it is a matter of nut-cracking, but it turns out that we have overlooked the art of cracking nuts because we were too skilled in it and that this newcomer to it first shows us its real nature, even finding it useful in making his effects to be rather less expert in nut-cracking than most of us.” [9]

The concept of art formulated here has much in common with Shklovsky’s theory of ostranenie. According to the narrator, the act of cracking a nut does not in itself amount to Art. Yet if one were to call it Art and repeat the same act in front of an audience, then, although it would still be someone cracking nuts, the act itself would be transformed, and the audience would see an aestheticized and gesteigert version of nut-cracking. By taking an object out of its usual context and rendering it strange, the viewer is granted a heightened awareness of that object and its significance within the scheme of things.

In his attempt to deconstruct Josephine’s art, the narrator reveals the paradox that lies at its heart: that essentially it is nothing more than their everyday speech. Her audience may know that her voice is nothing special; but there remains an undeniable yet elusive quality to her performances that commands attention and moves them all profoundly: “Something of our poor brief childhood is in it, something of lost happiness that can never be found again, but also something of active daily life, of its small gaieties, unaccountable and yet springing up and not to be obliterated.” As the narrator finally understands, her singing-piping is “set free from the fetters of daily life and it sets us free too for a little while.” [10] Mundane her voice may be, but what Josephine does is art, and without it her community feels bereft.

As the novelist Alice McDermott has said, fiction is “the way to enter into another universe, a way to see the world anew”. [11] The singing of Kafka’s mouse set her people free, if only for a few blissful moments, and with his writing Kafka offers readers a similar intellectual release. You don’t need a suitcase of yellowing documents to know that. Just a dog-eared paperback copy of his stories will do.

References

1. “In der Strafkolonie” (1919), “In the Penal Settlement”, tr Willa and Edwin Muir, in Franz Kafka, Metamorphosis and Other Stories (Penguin, 1980), p 180.
2. Kate Connolly, “End of a Kafkaesque nightmare: writer's papers finally come to light”, Guardian, July 9, 2008.
3. Martin Swales. “Why Read Kafka?” Modern Language Review 76 (1981): 357-66
4. Zadie Smith, “F. Kafka, Everyman”, New York Review of Books, Volume 55, Number 12, July 17, 2008.
5. “The week in books”, Guardian, July 26, 2008.
6. Terry Eagleton, The Ideology of the Aesthetic (Oxford, 1990), p. 89
7. Victor Shklovsky, “Art as Technique” (1917). Originally published as “Iskusstvo kak priëm.” In Lee T. Lemon and Marion J. Reis, trs., Russian Formalist Criticism: Four Essays (University of Nebraska Press, 1965), p. 12.
8. Cited by Zadie Smith, op.cit., from Gustav Janouch, Conversations with Kafka, p. 143.
9. Kafka, Wedding Preparations in the Country and Other Stories, trs. Willa and Edwin Muir (Penguin 1982), p 176. The original German text:
“Eine Nuß aufknacken ist wahrhaftig keine Kunst, deshalb wird es auch niemand wagen, ein Publikum zusammenzurufen und vor ihm, um es zu unterhalten, Nüsse knacken. Tut er es dennoch und gelingt seine Absicht, dann kann es sich eben doch nicht nur um bloßes Nüsseknacken handeln. Oder es handelt sich um Nüsseknacken, aber es stellt sich heraus, daß wir über diese Kunst hinweggesehen haben, weil wir sie glatt beherrschten und daß uns dieser neue Nußknacker erst ihr eigentliches Wesen zeigt, wobei es dann für die Wirkung sogar nützlich sein könnte, wenn er etwas weniger tüchtig im Nüsseknacken ist als die Mehrzahl von uns.” (“Josefine, die Sängerin oder Das Volk der Mäuse”, in Ein Hungerkünstler, 1924)
10. Ibid., 184.
11. Carole Burns (ed), Off the Page: Writers talk about Beginnings, Endings and Everything in Between (Norton, 2008), p. 73.

Wolf's fascinating book shows how evolutionary history and cognitive neuroscience are casting new light on "the complex beauty of the reading process". In particular, she highlights the brain's astonishing plasticity, its "protean capacity" to forge new links and reorganise itself to learn new skills: we are all born with the "capacity to change what is given to us by nature ... We are, it would seem from the start, genetically poised for breakthroughs".

You can read my review of Proust and the Squid for the Guardian here.

In the same issue I also review Paul Theroux's wonderful gonzo travelogue The Great Railway Bazaar, just re-issued by Penguin, and The Archimedes Codex: Revealing the Blueprint of Modern Science, by Reviel Netz and William Noel, the compelling account of how scholars and scientists have revealed the contents of the oldest surviving Greek manuscript of Archimedes. Read those here.

While you're over at the Guardian Review, Steven Poole's piece on Andrew Crumey's Sputnik Caledonia is also well worth reading. According to Poole:

"Science fiction makes you think of spaceships, magical technology, visionary futurism. Yet 'science fiction' might also be a good name for a kind of fiction that contains no robots or galactic battles but simply engages with science on a deeper and more authoritative level than your average novelist who borrows a vague understanding of quantum mechanics as a little moondust to sprinkle over the story."

One of the characters in the novel comments: "Go to any of our universities and you will find physicists who think they have no need of Shelley, or novelists who suppose they can live without Newton." As Poole says, "against this state of affairs, Sputnik Caledonia stands, in all its curious ambiguity, as a kind of manifesto." It's certainly going on my wish list.

Apparently, hundreds of UK veterans who witnessed nuclear tests in the 1950s have joined one of the largest compensation claims against the Ministry of Defence. There's a fascinating piece on this by Helena Merriman at the BBC. She interviewed one witness, Bob Malcolmson, who was an 18-year-old radio operator on HMS Diana at the time. He saw a 98-kiloton explosion: "The explosion was tremendous. They actually heard it in Australia 200 miles away from the islands. We turned our backs, covered our eyes with our hands. I had my eyes open and I could see the bones in my hands, even with my back to this thing." Malcolmson was later diagnosed with blood cancer. I hope they are successful in the courts. Read the rest of the piece here.

Last week there was a wonderful article in the Guardian called 'Read poetry: it's quite hard', by Sean O'Brien. He argues convincingly for a poetic canon, in part because it "presents a challenge to the reader, of a kind which in our impatient times often produces anxiety and resentment". I agree: canons can be helpful when you're a student, if only to give you something to rebel against.

One of his concerns is that a new generation of readers may be missing out on challenging texts, as teachers discard "classics" in favour of more "relevant" pieces. He's critical of the contemporary attitude to reading: "The difficulty that readers face owes much to the fundamentally prosaic and utilitarian view of language which dominates our period: speed, impact and 'the facts' are pre-eminent."

I was interested in this point as I have just been reading Maryanne Wolf's Proust and the Squid, which is a fascinating exploration of the neuroscience of reading. She is troubled by the impact of the Internet revolution on the way we read, believing it leads to a more superficial way of reading. Perhaps we need a slow reading movement, as well as one for slow food?

And finally, a very funny piece on academia by Ben McGrath in the New Yorker: "Powder Room 101". Enjoy.