In the early 21st century, it is easy to condemn the Bond books for being racist and imperialist, sexist and misogynist, elitist and sadistic. But this is merely another way of saying that we cannot understand the Bond books without reference to the personality, the outlook and the 'Tory imagination' of the man who wrote them, and to the time in which he wrote them; and that we cannot understand the 1950s and 1960s without some reference to them, and to him.

He was, albeit only briefly, the hero of the world's hopes.

Like sex, poverty and power, suicide may always be with us. But like them again, the actual form is takes is essentially time-specific and culture-bound, not only in the past but in the present too. The people who took their lives, the paths which led them to that end, and the experience of dying in this way were deeply influenced by specific historical circumstances. Only by making a greater effort at historical understanding can this most secret house of death be made to yield up more of its confidences.

Kitty Kelley's method, already perfected in her unauthorised and unflattering biographies of Frank Sinatra and Nancy Reagan, is to write bestsellers that take what she describes as an 'unblinking look' at their subjects - which might, of course, mean that her eyes are permanently open or permanently closed... the result is a work so bad that Britons cannot realise how fortunate they are in being unable to buy it. The great mistake with this book is not that it has been published in Britain, but that it has actually been published anywhere else.

On several occasions, we are informed that the professional ideal 'took steps', 'organised assaults', and 'selected social problems'. But this is anthropomorphic metaphor implausibly masquerading as historical explanation.

For all her active goodness, Florence Nightingale herself was far from being the angelic figure of popular adulation: according to Lytton Strachey's Eminent Victorians she was a self-righteous, domineering amazon, who was ruthless in her compassion, merciless in her philantropy, destructive in friendships, obsessional in her list for power, and demonic in her saintliness.

It is impossible not to be moved by the verve, courage and elan with Churchill attacked his last and ultimately invincible enemy, old age and infirmity. As in all his campaigns, he assailed his adversary with endless high spirits, expert advice, ample helpings of brandy and champagne, and the loving and long-suffering support of his wife.