“... About a third​ of the way into Ottessa Moshfegh’s Death in Her Hands, the protagonist, Vesta Gul, walks into a library, fires up a web browser and clicks on a page entitled TOP TIPS FOR MYSTERY WRITERS. The rules she scrolls past – ‘create a three-dimensional world’, offer ‘a clear and convincing motive’, ‘try to surprise the reader at the end, but always play fair’ – could be a list of everything that was deliberately missing from Moshfegh’s previous books, which are populated by flat, chronically miserable characters who repeat the same self-defeating and often viscerally revolting actions over and over again, and feature endings that seem determined to mock and disappoint ...”

“... Kate​ Atkinson’s 12th book, her fifth starring the detective Jackson Brodie, opens with our hero making some kind of escape with a young bride. She tosses her veil and bouquet onto the back seat of Brodie’s car, and they ride off into the sunset. Brodie glances at his companion: ‘He noticed she was cupping the bowl of her belly, where she was incubating an as yet invisible baby ...”

“... In Shikasta, some months ago, Doris Lessing engaged with space fiction at its most apocalyptic, covered aeons of time and used scores of characters, and left some doubt about her meaning. All is comparatively clear and simple in The Marriages Between Zones Three, Four and Five, which has the form of a fable – one where values are quite explicit, characters few and the action limited to a single episode in history (history at least as it has passed into the archives of Zone Three, whose chronicler tells the story ...”

“... Yvonne dear,’ his Aunt said, ‘won’t you do the introduction?’ ‘This is Nancy,’ Yvonne said. ‘This is Andy. This is Mildred. This is George. This is Isabella. This is Steve. This is Miss Lear. This is Remus and this is Caterina.’ She paused. ‘This is Peter,’ she said. Everybody laughed. One of the children threw a ball into the air and someone said something that sounded like ‘sport and game’ or ‘Fort Alane’ and everybody laughed again ...”

“... It’s hard to imagine what once seemed so liberating about The Naked Lunch, a famous cult novel of the Beat generation. A not unsympathetic critic, Leslie Fiedler, found much of it ‘dull protest literature, manifestoes against cops and in favour of junkies and homosexuals’ – which is not sympathetic, but not right either. I can’t call to mind anything less ‘in favour of’ drugs or homosexuals ...”

“... Paul Theroux is the author of The Great Railway Bazaar and The Old Patagonian Express. He is better-known for these than for his nine novels. The novels are extraordinarily different from each other, and haven’t given a distinct image of Theroux as a novelist. He has set them in Kenya, Malawi, Singapore, London, Dorset, Cape Cod, and now in Honduras; and produced as many different kinds of novel ...”

“... There is nothing either good or bad, but thinking makes it so.’ Perhaps rather carefully, the words at the head of Graham Greene’s new novel are ascribed to William Shakespeare rather than to Hamlet, but inevitably it’s Hamlet they bring to mind. Very Hamlet, this complete scepticism – but not, surely, very Graham Greene; and what has it to do with a novel on the theme of Don Quixote? Turgenev brought Hamlet and Don Quixote together, in an essay on the Russia of his time, in order to contrast the man who thinks like Hamlet and therefore cannot act, and the man impelled by his dreams to act like Don Quixote ...”

“... The Romantic awakening dates from the production of Ossian,’ Ezra Pound wrote, and he was right. One of James Macpherson’s great contributions to literature was the use of the fragment. His first Ossianic work, the Fragments of Ancient Poetry, published in Edinburgh in 1760, uses in its title and as its form one of the familiar terms of classical scholarship – the ‘fragmentum’ – and deploys it to give authority to the shattered remnants which he has carried over into English from the post-Culloden smash-up of the Gaelic world ...”

“... Younger Scottish writers seem to be preoccupied by gender. It is a theme crucial equally to Duncan McLean’s novel Bunker Man and to Kathleen Jamie’s poetry collection The Queen of Sheba. It is insistent in W.N. Herbert’s poem ‘Featherhood’ and Janice Galloway’s Foreign Parts. It bridges writing as different as the poetry of Carol Ann Duffy, Kate Clanchy or David Kinloch, and the fiction of Christopher Whyte or A ...”

“... The molecular revolution in biology began 50 years ago with the discovery of the structure of DNA, and has had such an impact that the reading public’s interest now extends even to the lives of molecular biologists. Indeed, molecular biologists have stolen the limelight from physicists and astronomers. Best known among them are the Nobel laureates James Watson and Francis Crick; less well known is Rosalind Franklin, who died in 1958 aged 37 ...”

“... Wilfred Thesiger was born in Addis Ababa in 1910 and spent the first nine years of his life in Abyssinia. Visions of Abyssinian barbarism and splendour were to stay with him for the rest of his life, in particular his presence at Ras Tafari’s victory parade in 1916 after a battle on the plain at Sagale. The defeated but proud Negus Mikael walked in chains, while victorious tribesmen with spears, banners, drums, trumpets and horses draped in the bloody clothing of slain enemies processed in triumph through the Abyssinian capital ...”

“... a 21st-century viewpoint, it seems more like a pioneering eco-poem. Human ‘dominion’ over what Robert Burns in ‘To a Mouse’ termed ‘nature’s social union’ had often disturbed the Romantic poets, but Muir intensified this by bringing together fears that technology might lead to human extinction with concerns about how to restore a lost balance ...”

“... It isn’t until​ the halfway point of The Fall Guy, James Lasdun’s thrillerish new novel, that we are treated to its first overtly criminal act: breaking and entering. This book is about boundaries – emotional, social and moral – and it is with characteristic obliqueness that Lasdun gives us this first, long anticipated transgression: though the act strikes the reader as insane in its audacity, its import barely registers on Matthew, the book’s protagonist and the perpetrator of the crime ...”

“... In late​ 2016, David Sedaris attended a piano recital delivered by his longtime partner, Hugh. Hugh had practised with obsessive intensity for many hours a day, but ultimately performed poorly, disappointing himself in front of a room full of his fellow students and their parents. ‘I’ve never seen him so vulnerable,’ Sedaris wrote that night in his diary, excerpted here in a second curated volume of entries, which he has said are a small fraction of the nearly ten million words he has ‘handwritten or typed’ as part of this project since 1977 ...”

“... The finest poetry written by British citizens during the years 1939-45 was produced by T.S. Eliot and by Sorley MacLean. Each was a British citizen in a very different way. Eliot, more interested in assuming Englishness than Britishness, had already taken the un-English step of giving himself a written constitution (Royalist, Anglo-Catholic, Classicist), and gave over one of his three great war poems to the investigation and celebration of his American background ...”