Adam Mars-Jones

Adam Mars-Jones is a professor of creative writing at Goldsmiths. His novels include Box Hill and Batlava Lake, which are quite brief, and Pilcrow and Cedilla, which are intended to be part of a million-word sequence. An early version of some of Kid Gloves: A Voyage round My Father appeared in the LRB. His new novel, Caret, was published in 2023. Box Hill is being adapted for cinema as Pillion.

In​ the acknowledgments to Her Body & Other Parties Carmen Maria Machado strikes a note of respect for her predecessors that isn’t far from abasement: ‘Every woman artist who has come before me. I am speechless in the face of their courage.’ The stories in the book don’t really match this, their attitude being closer to a productive impertinence. In...

Oud, Saz and Kaman: Mathias Enard

Adam Mars-Jones, 24 January 2019

Behind​ its grand and oblique title, derived rather surprisingly from Kipling, Mathias Enard’s new book is a fictional account, no more than novella length, of a visit by Michelangelo to Constantinople in 1506. Sultan Bayezid II had already commissioned a design for a bridge over the Golden Horn from Leonardo da Vinci, and rejected it. Now Michelangelo, far from immune to rivalrous...

Big Books

Adam Mars-Jones, 8 November 2018

A big​ book is a big evil. That’s what Callimachus said, but really, what did he know? A book wasn’t a bound and folding thing for him, a codex. He could only have known scrolls, like the ones that toga-wearing actors consult with bogus assurance in plays set in classical times, as if what they were holding was some sort of Kindle-in-waiting. And in the 1960s anyone who...

The First Time: Sally Rooney

Adam Mars-Jones, 27 September 2018

Normal People doesn’t bear much resemblance to apprentice work. The evenness of Rooney’s attention is a huge asset, page by page, and the sign of an unusual sensibility. The only question is whether she gives quite enough shape to the story of ‘the chemistry between two people who, over the course of several years, apparently could not leave one another alone’. The exemplary architecture of sentence and page has no real equivalent on a larger scale, and the meticulousness and lack of hurry that are so effective locally work against a sense of climax or growth, producing a final impression almost of fizzle.

I’m a Cahunian: Claude Cahun

Adam Mars-Jones, 2 August 2018

Rupert Thomson’s​ new novel follows the contours of a remarkable life. Lucy Schwob, born in 1894 to a cultured and prosperous Nantes family, moved to Paris in 1920, where she developed strong links with the Surrealist movement and adopted the name Claude Cahun. Though she produced work in a number of media, and in her lifetime was known as a writer, she is now remembered for her...

In 1948, Tennessee Williams published a short story (and collection of the same title) called ‘One Arm’. It is about Oliver Winemiller, a magnificent young navy boxer who lost an arm...

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Zero Grazing

John Ryle, 5 November 1992

Seventy-four years ago a viral pandemic began in America, most likely on a pig farm in Iowa. Fifteen months later it had killed over eighteen million people, 1 per cent of the world’s...

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Plague Fiction

Charles Nicholl, 23 July 1987

It sounds like it’s something to do with helping, but that is very far from its meaning. I can’t remember when we first started hearing it; no more than five or six years ago, surely....

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Ugly Stuff

Ian Hamilton, 15 October 1981

William Trevor is bewitched by childhoods and by second childhoods: the ‘grown-up’ bit in between is for him a dullish swamp of lies, commerce, lust and things like that. For Trevor,...

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