Two decades ago, the destruction of the World Trade Center plunged many novelists in the West into feelings of powerlessness and marginality. Fanatics of seemingly obscure background and motivation had set off colossal explosions in what Don DeLillo in Falling Man called the ‘narcissistic heart of the West’. Martin Amis was not alone in ‘considering a change of occupation’. Ian McEwan claimed to have found it ‘wearisome to confront invented characters’. ‘I wanted to be told,’ he said, ‘about the world. I wanted to be informed. I felt that we had gone through great changes and now was the time to just go back to school, as it were, and start to learn.’

‘If ever there was a book calculated to make a man in love with its author,’ William Godwin wrote in 1798 of Mary Wollstonecraft’s Letters Written During a Short Residence in Sweden, Norway and Denmark, ‘this appears to me to be the book.’ Mary’s aim was off: she was trying to get back an errant lover but ended up ensorcelling Godwin instead. Falling in love with someone through their writing is slow and delicious and sad, like sighing gently over the years at a screen actor, like, say, the guy whose cheekbones and tousle stare out at me from a postcard on my fridge door, and who now stares out from the back cover of A Bright Ray of Darkness, his new novel – Ethan Hawke. 

‘Why had we come to the moon?’ the narrator of H.G. Wells’s The First Men in the Moon (1901) asks. ‘The thing presented itself to me as a perplexing problem.’ The novel features in The Moon exhibition at the National Maritime Museum, alongside other books that anticipated the space age: Jules Verne’s From the Earth to the Moon (1865) and Lucian of Samosata’s True Story, written in the second century AD. It begins with a ship blown to the moon by a whirlwind; a war between Phaethon and Endymion ensues, enabled by giant spiders. Aubrey Beardsley was one of the illustrators of an 1894 English edition.

‘There’s a writer in England called … er, Peter Ackroyd,’ David Bowie said in a short film he made in 2003, ‘who wrote a book called … Hawksmoor I think it was. Wasn't it? Yeah.’ Ackroyd's 1985 novel struck him as 'a very powerful book, and quite scary', and in 2013 Bowie included it on a list of his favourite 100 books, ranging from the Beano to The Origin of Consciousness in the Breakdown of the Bicameral Mind. His son, the filmmaker Duncan Jones, recently launched #BowieBookClub to discuss 'dad's favs' on Twitter, choosing Hawksmoor as 'an amuse cerveau before we get into the heavy stuff'.

Kazuo Ishiguro, who has won the Nobel Prize in Literature, wrote in the London Review of Books in 1985: 'The British and the Japanese may not be particularly alike, but the two races are exceedingly comparable. The British must actually believe this, for why else would they be displaying such a curious desperation to deny it? No doubt, they sense that to look at Japanese culture too closely would threaten a long-cherished complacency about their own.'

'Wild' would be a generous way to describe the use of historical detail in The Imitation Game, the movie about Alan Turing. 'Based on', 'sourced from', so they say, but what in The Imitation Game isn’t invention? And why? Anyone who's read Andrew Hodges’s biography of the mathematician, or Mavis Batey’s book about Dillwyn Knox, with whom Turing worked at Bletchley from 1939 until Knox's death in 1943, will ask themselves why the movie made up so much when the tales of Turing and his colleagues are unbeatable stuff.