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“... Graham Swift’s new novel, like its two predecessors, is about a man who wants to reconstruct the past. In Waterland (1983) this enterprise was conducted – plausibly enough if rather insistently – by a history teacher who saw in his imminent redundancy more than the demotion of his subject. Cutting back on history meant cutting off adults as well as children from the stories about the world that are among their deepest needs ...”

“... Death’s Darkest Face is Julian Symons’s 27th crime story, and its appearance coincides with an award (the Diamond Dagger) for his long service to the genre. This isn’t quite enough for his publishers, keen to promote the book as a proper novel rather than another addition, however distinguished, to their crime list. The implied claim that, despite the format, it’s serious stuff not only revives old and no doubt perennial problems about how to take this sort of fiction, but also echoes the author’s concluding comment that, in this case, he’s been less interested in puzzle than personality ...”

“... is the last thing he proposed to himself in his Bloemfontein adolescence, reading Joyce and taking Stephen Daedalus’s intention to fly by the nets of nationality, language and religion as a guide. He is too ambitious to be content with becoming a second-rate writer (which is what the poems included tactfully indicate), and settles for a Civil Service career ...”

“... Michael Frayn hasn’t published a novel for 16 years, but it’s immediately clear from his new one that he hasn’t lost the trick of it. After so long a lay-off some self-consciousness might have been expected, but Frayn has turned this potential liability to advantage by making it an essential part of his subject. The Trick of It is, among other things, an essay on itself, but the reflexive element is saved from a merely formal aridity by its comic brio and its uneasy respect for human mysteriousness ...”

“... Anita Brookner’s novels have been preoccupied with women who feel themselves to be profoundly separate. This may be the result of either choice or necessity, or of stoically making a choice of necessity. They are often tempted to alleviate this solitariness by falling in love with a man or attaching themselves to a couple or a family, but this usually ends in recoil and failure ...”

“... Historical novels regularly try to hook you in to their unfamiliar worlds by some arresting initial display of their subject’s narrative potential. The technique goes back to Scott, and William Kennedy’s Quinn’s Book is orthodox enough in providing a sensational set-piece in its opening pages. He hasn’t deserted his habitual location of the town of Albany but has gone back to how it was in 1849, the date of a freak accumulation of ice on the Hudson River which briefly forms a huge iceberg before exploding through internal stress, flooding the adjacent wharves and indirectly causing a fire which destroys six hundred buildings ...”

“... Craiglockhart Hydro – an Italianate pile near Edinburgh – opened in 1880, but it figures in literary history because it was taken over as a military hospital in 1916. Wilfred Owen was sent there, and so was Siegfried Sassoon. That their meeting, and the place itself, had a catalytic effect on Owen’s poetry has long been recognised. When, in her new novel, Pat Barker shows Sassoon and Owen discussing the diction and title of the latter’s ‘Anthem for Doomed Youth’, she is following manuscript evidence of Sassoon’s suggestions and Owen’s revisions ...”

“... In his new novel William Boyd returns to Africa, the scene of his first successes, but not to the west of A Good Man in Africa or the east of An Ice-Cream War. Brazzaville Beach goes for the centre – and appropriately so, since the questions it raises are more searching than before. They’re pursued with a narrative fluency and clarity of design that rewards and deserves attention ...”

“... Susan Minot’s volume is a slim one, and some of the pieces in it will not placate those who complain that short stories are too often too short, rather as one might hold it against the sonnet that it’s over after only 14 lines. Brevity can be the soul of more qualities than wit, and it would be a dim view of Webern to say that he lacks Schubert’s heavenly length ...”

“... the defamiliarising effect seems essentially lyrical in intention: And water dripped from tap on wall into basin and into water there. Sun. Water drops made rings in clear-coloured water. Sun in these shook on the walls and ceiling. As rings went out round trembling over the water shadows of light from sun in these trembled on walls. The phrasing of the ...”

“... Novelists on the novel – or, at any rate, good novelists on the novel – often write with a vigour and a commitment to the form that shames more academic approaches. Such practitioners’ confessions, as Milan Kundera calls them, may be more partial but they’re also more impassioned. They know what it is like, and they know what they want. It is Henry James, of course, who exhibits at the highest level the combination of the practising novelist’s experience and the finest critical intelligence, but lesser if still considerable writers, such as E ...”

“... After a lonely visit to Poland in 1938, Barbara Pym complained in a letter that ‘I honestly don’t believe I can be happy unless I am writing. It seems to be the only thing I really want to do.’ In a 1978 broadcast printed in the latest collection of her previously unpublished work, she looks back over more than forty years spent trying to write novels – a career with, as she laconically puts it, ‘many ups and downs ...”

“... In October 1860 Dickens finally moved what remained of his family from Tavistock Square in Bloombury to Gad’s Hill Place in Kent. He’d bought it four years earlier (for £1750), steadily improved it, and it remained his home until he died there in 1870. On high ground between Rochester and Gravesend, it was the very spot, as his letters insist, where Falstaff ran away ...”

“... Stephen Wall sees as crucial those passages in An Autobiography where Trollope rhapsodises on his equality with the personages of his fiction: ‘There is a gallery of them, and of all in that gallery I may say that I know the tone of voice, and the colour of the hair, every flame of the eye, and the clothes they wear ...”

“... The story is to be continued, presumably, but I can’t see this ‘Dance ...’ catching on. Stephen Wall’s first novel Double Lives is a strange, enfolded book, similar to Motion’s in its use of layering but considerably more subtle in the way it yields up its narrative key. It takes quite some time – nearly the whole book, in fact ...”