Howards End Is on the Landing: A Year of Reading from Home

Books help to form us. If you cut me open, you will find volume after volume, page after page, the contents of every one I have ever read, somehow transmuted and transformed into me. Alice in Wonderland. the Magic Faraway Tree. The Hound of the Baskervilles. The Book of Job. Bleak House. Wuthering Heights. The Complete Poems of W H Auden. The Tale of Mr Tod. Howard''s End. What a strange person I must be. But if the books I have read have helped to form me, then probably nobody else who ever lived has read exactly the same books, all the same books and only the same books as me. So just as my genes and the soul within me make me uniquely me, so I am the unique sum of the books I have read. I am my literary DNA.

I love the book. I love the feel of a book in my hands, the compactness of it, the shape, the size. I love the feel of paper. The sound it makes when I turn a page. I love the beauty of print on paper, the patterns, the shapes, the fonts. I am astonished by the versatility and practicality of The Book. It is so simple. It is so fit for its purpose. It may give me mere content, but no e-reader will ever give me that sort of added pleasure.

Fast reading of a great novel will get us the plot. It will get us names, a shadowy idea of characters, a sketch of settings. It will not get us subtleties, small differentiations, depth of emotion and observation, multilayered human experience, the appreciation of simile and metaphor, any sense of context, any comparison with other novels, other writers. Fast reading will not get us cadence and complexities of style and language. It will not get us anything that enters not just the conscious mind but the unconscious. It will not allow the book to burrow down into our memory and become part of ourselves, the accumulation of knowledge and wisdom and vicarious experience which helps to form us as complete human beings. It will not develop our awareness or add to the sum of our knowledge and intelligence. Read parts of a newspaper quickly or an encyclopaedia entry, or a fast-food thriller, but do not insult yourself or a book which has been created with its author's painstakingly acquired skill and effort, by seeing how fast you can dispose of it.

Memory is like a long, dark street, illuminated at intervals in a light so bright that it shows up every detail. And then one plunges into the dark stretch again.

I go downstairs and the books blink at me from the shelves. Or stare. In a trick of the light, a row of them seems to shift very slightly, like a curtain blown by the breeze through an open window. Red is next to blue is next to cream is adjacent to beige. But when I look again, cream is next to green is next to black. A tall book shelters a small book, a huge Folio bullies a cowering line of Quartos. A child's nursery rhyme book does not have the language in which to speak to a Latin dictionary. Chaucer does not know the words in which Henry James communicates but here they are forced to live together, forever speechless.

A book which is left on a shelf is a dead thing but it is also a chrysalis, an inanimate object packed with the potential to burst into new life.

You don't have to pay its rent just because it is a book.

Imagine having nothing to read in the house but cookery books.

Henry James wrote that 'there are two kinds of taste in the appreciation of imaginative literature: the taste for emotions of surprise and the taste for emotions of recognition. It is the latter that Trollope gratifies.

Eucalyptus. Murray Bail. Someone told me that this was a great novel so I bought it, but then I discovered that it was great Australian novel so I put it away. I find it difficult to get to grips with Australian novels. Difficult, but not impossible.