“... earned or owed, while Henry James would have struggled to imagine a balance sheet emanating from Adam Verver’s empire. No reader is likely to understand the self-sustaining momentum of JR’s business dealings, which wouldn’t matter if that momentum carried over into the dynamics of the book. Williams praises the novel’s ‘flow of unremitting ...”

“... This book by its own admission goes for breadth over depth in its consideration of disability in film. Like many a cultural archaeologist coming upon a rich site, Martin Norden does what Schliemann did at Troy and sinks his shafts in haste, turning up many treasures but profoundly disturbing the strata in the process. Norden lists a vast number of early silent films featuring people with disabilities – slapstick offerings such as The Invalid’s Adventure (1907) or Near-Sighted Mary (1909) – which would have to come into the category of mocking the afflicted ...”

“... At first glance​ the title of Sarah Schulman’s remarkable history of the Aids pressure group ACT UP in New York has a cool authority at odds with the turbulent energy of the group itself, although justified by the meticulousness of her scholarship. Let the Record Show was also the title of a 1987 agitprop artwork devised by a collective that later called itself Gran Fury, and Schulman’s book is unusual for a self-described political history in treating ACT UP’s cultural production as indivisible from its other activities ...”

“... Han Kang​ won the International Man Booker Prize in 2016 for The Vegetarian and The White Book is the second novel of hers to be published in English since then. This rate of publication telescopes the appearance of her books in the original Korean (The Vegetarian was published in that language in 2007) but even so her development has been rapid, with remarkably little overlap of theme or manner between the first and third books of this little splurge of publishing activity ...”

“... If Beryl Bainbridge​ had published, as her last novel, a satirical farce about the machinations behind a famous literary prize, she might have managed to weather the accusations of pique. Better yet if she had held it back for posthumous publication, to show that she could wait out her own ego. Anyone else is likely to be seen as settling a score rather than diagnosing the ills of the literary marketplace ...”

“... I was friendly with Jeanette Winterson in the 1980s – we even went away for a weekend together. I went slightly cool on the friendship, though she didn’t exactly do anything wrong. We ran into each other occasionally after the publication of Oranges Are Not the Only Fruit, and we once read to an audience of nine in Burnley (I doubt if even one of the nine was there to hear me ...”

“... The strange pleasure​ of reading Michel Houellebecq, when he’s writing well, lies in the sense of being pinned down by a veteran sniper. He’s a shrewd ideological marksman, skilled at taking cover behind one set of values so as to get a better aim on another. Empathy is routinely booby-trapped, while satire can yield little surges of feeling. He can and does create character, but every now and then there is a hint of the writer in the background, holding his breath while he calibrates his effects, making minute adjustments to the telescopic sight ...”

“... At one point​ in Kiran Desai’s new novel the heroine, Sonia Shah, sets out to write a journalistic sketch of the Indian kebab, ‘massaged, marinated, oiled, spoiled, pampered, pompous, romantic’, but finds the subject expanding relentlessly. She researches the tabak maaz of Kashmir, the Afghani reshmi, the pathar kebab, ‘cooked on a hot stone to absorb the flavour of the minerals’, the dorra kebab, steamed in silk over low coals that have been smoked with sandalwood, and the kakori, named after the village where it was devised to accommodate the toothlessness of the local nawab: ‘It was ground anew with each addition of the fifty-two spices – actually, some said fifteen spices, some eight, but all vowed secrecy ...”

“... To rate his achievement at its least, Martin Amis has been for upwards of 25 years the By Appointment purveyor of classic sentences to his generation. In Money (1984) he achieved something that was as much of a breakthrough for our insular literature as Bellow’s had been in The Adventures of Augie March (1953) for American writing, a manner electric, impure and unimpressed, except sometimes by itself, mixing refracted slang with swaggeringly artificial cadence ...”

“... Back when the Independent was young and thriving, the paper used to sponsor lunchtime ‘theatre conferences’ at the Edinburgh Festival in association with the Traverse. The description ‘theatre conferences’ makes these public discussions sound starchier than they were. I was happy to do my bit chairing events in exchange for the train fare and somewhere to sleep ...”

“... Alan Hollinghurst​ ’s tally as a published novelist is six books over 29 years, so that’s more than two thousand pages of astonishing responsiveness to light, sound, painting, the past, social nuance, music, sensation both sexual and otherwise, buildings inside and out, the inner life of sentences – this is only the beginning of a list. He is saturated in the literary past but unhindered by it, able to adapt a 19th-century manner to subjects the past could not accommodate; he’s hardly unaware of the siren voices of modernism but remains safely tied to the mast ...”

“... Alan Garner​’s new book is a patchwork of memoirs and essays, taking its title from the offcuts of tapestry that weavers (like some of his forebears) would take home with them. His heyday has been a long one. Garner’s first book for children, The Weirdstone of Brisingamen, published in 1960, has a place on the shelves and in the memories of generations of readers, while his tiny, exquisite novel Treacle Walker was shortlisted for the Booker Prize in 2022 ...”

“... What good​  was a soft boy in a hard world?’ It’s a question asked by the hero’s older brother in Douglas Stuart’s Shuggie Bain, worthy winner of the 2020 Booker Prize, and it is just as much the preoccupation of his follow-up, Young Mungo, as shown by the new novel’s dedication: ‘For Alexander and all the gentle sons of Glasgow ...”

“... These three books show some of the range of contemporary gay thinking in Britain and America, and also manifest a clear hierarchy of intellectual ambition. Here are Gay Studies Advanced, Intermediate and also Rudimentary. Colin Spencer’s Homosexuality: A History is the work of a hobbyist, who offers what is essentially a scrap-book of the various ways that homosexuality has been inflected in different periods and cultures ...”

“... Claudia Roth Pierpont met Philip Roth at a birthday party in 2002. She was a fan, but managed not to alienate him with clumsy enthusiasm. A couple of years later he sent her a photocopy of a newspaper article he thought she might be interested in. They met for coffee and became more relaxed with each other. Later he recruited her as a member of the small rotating committee of friends, an editorial micro-minyan, to whom he sent drafts of his books ...”