I’ve never learnt the names of a lot of fish. I always swot them up on the boat and forget them a week later. But watching the breathtaking variety of shape and movement keeps me entranced for hours, or would if the oxygen allowed. If I were not an atheist, I think I would have to be a Catholic because if it wasn’t the forces of natural selection that designed fish, it must have been an Italian. I was moving forward slowly in the shallows. A few feet in front of me the reef gradually dipped down into a broad valley. The valley floor was wide and dark and flat. Ian was directing my attention toward it. I didn’t know why. There seemed to be just an absence of interesting coral. And then, as I looked, the whole black floor of the valley slowly lifted upward and started gently to waft its way away from us. As it moved, its edges were rippling softly and I could see that underneath it was pure white. I was transfixed by the realisation that what I was looking at was an eight-foot-wide giant manta ray. It banked away in a wide, sweeping turn in the deeper water. It seemed to be moving breathtakingly slowly, and I was desperate to keep up with it. I came down the side of the reef to follow it. Ian motioned me not to alarm the creature, but just move slowly. I had quickly realised that its size was deceptive and it was moving much more swiftly than I realised. It banked again round the contour of the reef, and I began to see its shape more clearly. It was very roughly diamond-shaped. Its tail is not long, like a sting ray’s. The most extraordinary thing is its head. Where you would expect its head to be, it’s almost as if something has taken a bite out of it instead. From the two forward points—the outer edges of the “bite,” if you see what I mean—depend two horns, folded downward. And on each of these horns is a single large black eye.

As it moved, shimmering and undulating its giant wings, folding itself through the water, I felt that I was looking at the single most beautiful and unearthly thing I had ever seen in my life. Some people have described them as looking like living stealth bombers, but it is an evil image to apply to a creature so majestic, fluid, and benign.

I followed it as it swam around the outside of the reef, I couldn’t follow fast or well, but it was making such wide, sweeping turns that I only had to move relatively short distances round the reef to keep it in sight. Twice, even three times it circled round the reef and then at last it disappeared and I thought I had lost it for good. I stopped and looked around. No. It had definitely gone. I was saddened, but exhilarated with wonder at what I had seen. Then I became aware of a shadow moving on the sea floor at the periphery of my vision. I looked up, unprepared for what I then saw.

The manta ray soared over the top of the reef above me, only this time it had two more in its wake behind it. Together the three vast creatures, moving in perfect, undulating harmony of line, as if following invisible rollercoaster rails, sped off and away till they were lost at last in the darkening distance of the water.

“Ah, no worries, mate,” he said. “No worries at all.”

***

Who are your favorite authors?

Charles Dickens, Jane Austen, Kurt Vonnegut, P. G. Wodehouse, Ruth Rendell.

Sunset at Blandings This is P. G. Wodehouse’s last—and unfinished—book. It is unfinished not just in the sense that it suddenly, heartbreakingly for those of us who love this man and his work, stops in mid-flow, but in the more important sense that the text up to that point is also unfinished. A first draft for Wodehouse was a question of getting the essential ingredients of a story organised—its plot structure, its characters and their comings and goings, the mountains they climb and the cliffs they fall off. It is the next stage of writing—the relentless revising, refining, and polishing—that turned his works into the marvels of language we know and love. When he was writing a book, he used to pin the pages in undulating waves around the wall of his workroom. Pages he felt were working well would be pinned up high, and those that still needed work would be lower down the wall. His aim was to get the entire manuscript up to the picture rail before he handed it in. Much of Sunset at Blandings would probably still have been obscured by the chair backs. It was a work in progress. Many of the lines in it are just placeholders for what would come in later revisions—the dazzling images and conceits that would send the pages shooting up the walls. Will you, anyway, find much evidence of the great genius of Wodehouse here? Well, to be honest, no. Not just because it is an unfinished work in progress, but also because at the time of writing he was what can only be described as ninety-three. At that age I think you are entitled to have your best work behind you.

In a way, Wodehouse was condemned by his extreme longevity (he was born the year that Darwin died and was still working well after the Beatles had split up) to end up playing Pierre Menard to his own Cervantes. (I’m not going to unravel that for you. If you don’t know what I’m talking about, you should read Jorge Luis Borges’s short story “Pierre Menard Author of Don Quixote.” It’s only six pages long, and you’ll be wanting to drop me a postcard to thank me for pointing it out to you.) But you will want to read Sunset for completeness and for that sense you get, from its very unfinishedness, being suddenly and unexpectedly close to a Master actually at work—a bit like seeing paint pots and scaffolding being carried in and out of the Sistine Chapel.

Master? Great genius? Oh yes. One of the most blissful joys of the English language is the fact that one of its greatest practitioners ever, one of the guys on the very top table of all, was a jokesmith. Though maybe it shouldn’t be that big a surprise. Who else would be up there? Austen, of course, Dickens and Chaucer. The only one who couldn’t make a joke to save his life would be Shakespeare.

Evelyn Waugh, I think, compared Wodehouse’s world to a pre-fall Eden, and it’s true that in Blandings, Plum—if I may call him that—has managed to create and sustain an entirely innocent and benign Paradise, a task that, we may recall, famously defeated Milton, who was probably trying too hard. Like Milton, Wodehouse reaches outside his Paradise for the metaphors that will make it real for his readers.

But where Milton reaches, rather confusingly, into the world of classics gods and heroes for his images

(like a TV writer who only draws his references from other TV shows), Wodehouse is vividly real. “She was standing scrutinising the safe, and heaving gently like a Welsh rarebit about to come to the height of its fever.” “The Duke’s moustache was rising and falling like seaweed on an ebb-tide.” When it comes to making metaphors (well, all right, similes if you insist), you don’t mess with Master. Of course, Wodehouse never burdened himself with the task of justifying the ways of God to Man, but only of making Man, for a few hours at a time, inextinguishably happy. Wodehouse better than Milton? Well, of course it’s an absurd comparison, but I know which one I’d keep in the balloon, and not just for his company, but for his art.

We Wodehouse fans are very fond of phoning each other up with new discoveries. But we may do the great man a disservice when we pull out our favourite quotes in public, like “Ice formed on the butler’s upper slopes,” or “... like so many substantial Americans, he had married young and kept on marrying, springing from blonde to blonde like the chamois of the Alps leaping from crag to crag” or (here I go again) my current favourite, “He spun round with a sort of guilty bound, like an adagio dancer surprised while watering the cat’s milk” because, irreducibly wonderful though they are, by themselves they are a little like stuffed fish on a mantelpiece. You need to see them in action to get the full effect. There is not much in Freddie Threepwood’s isolated line “I have here in this sack a few simple rats” to tell you that when you read it in context you are at the pinnacle of one of the most sublime moments in all English literature.