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“... Words at first fail us, when events are too extreme to be caught in subtle nets. Literary language reaches for outrage and finds hollowed-out forms; straining to be adequate to horror, it is all too easy to sound schmaltzy, or sanctimonious, or quivery with frisson. So the title story of Deborah Eisenberg’s new collection approaches its subject with reticence ...”

“... The world of Kate Atkinson’s novels is distinctive. This isn’t because it’s confined to a particular place (Behind the Scenes at the Museum, 1995, her first novel, was set in York, her others in ‘Arden’, Dundee and Cambridge), although geography is important, and she is precise about history, socio-economics, climate, architecture and even street-plans ...”

“... We’re encouraged by the Romantics and the Freudians to think that childhood is when we are most ‘natural’ and least broken-in to cultural norms. However, in childhood we are also most intensely subject to the familial culture which surrounds us; the world can be interpreted only in the language and according to the value system we are given by parents and relatives and at school ...”

“... There’s a fascinating anthropological study to be written about Oxford undergraduates of the 1960s – or perhaps this book is it. Roger Garfitt in his daffodil-yellow pinstripe suit and silver-topped cane – mingling with the other ‘heads’, boiling up asthma drugs for a hit, talking of samsara and Kropotkin – seems a type as exotic as an Elizabethan dandy: We would split an amp of methedrine between us, sliding the needle just under the skin in a procedure known as skinpopping … sometimes it seemed to me that the drugs were almost irrelevant and what mattered was the expeditionary instinct that had Bryn and me angling our shoulders into the existential wind or Paul and me reconstituting ourselves around the thin spills of Old Holborn we smoked in liquorice papers, the sweetness offsetting the dark tobacco and the two together anchoring us after the night of non-being ...”

“... If anthropology is obsessed with anything,’ Clifford Geertz says, ‘it is with how much difference difference makes.’ The same could be said of the novel. And novelists’ curiosity, like anthropologists’, aims not to solve or explain the puzzle of lives lived, but to seize and transcribe it. In his new book, All for Love, Dan Jacobson captures a story from late 19th-century European history with an anthropologist’s eye for detail ...”

“... Parenthood happens in sections. The son’s Bildungsroman is the mother’s series of short stories: no sooner has he stopped being the free woman’s dilemma (to reproduce or not to reproduce) than he’s her fat sucking baby; then he’s a needy toddler, then a child bonding and fighting with siblings, then a boy thinking for himself, drawing away from closeness ...”

“... In The Inheritance of Loss, her second novel, Kiran Desai addresses herself to an Indian culture in which globalisation isn’t imagined but experienced, whether in exile abroad or as a result of painful social and cultural displacements within the country itself. This makes the novel sound rather gloomily earnest, but Desai’s scepticism and fearfulness are expressed as a dark exuberance: she can’t help relishing the textures of the fragmentation she describes ...”

“... The Norwegian writer Per Petterson’s best-known novel, Out Stealing Horses (2005), won praise and prizes, and was an international bestseller. It opens with Trond, a man in his sixties who has retreated to longed for solitude in the woods, encountering another man late at night outside his house – the second man is worried because his dog keeps running off (there are wolves in the forest ...”

“... In the title story of Claire Keegan’s second collection, Walk the Blue Fields, a priest is officiating at a wedding in rural Ireland: the bride is late, the organist has to play the Bach toccata twice, ‘a thrill of doubt’ is ‘spreading through the pews’. She turns up eventually, and the ceremony goes off all right, but an intimation of trouble has been set reverberating in the reader from the very first sentence: ‘Earlier, the women came with flowers, each one a deeper shade of red ...”

“... Is there such a thing as ‘the woman reader’ – as a category, that is, suitable for study? ‘Readers’ constitute a real category, and ‘women’ do. But Belinda Jack believes that reading women are a sisterhood under the fancy dress. For her ‘history of women’s reading’ she has assembled potted biographies of women readers and writers through the ages ...”

“... The novel at any given moment has a special relationship with the recent past: worlds contiguous to its own, at the farther reaches of living memory, not yet floated off into history. Colm Tóibín’s Brooklyn and William Trevor’s Love and Summer address themselves with urgency to 1950s Ireland, not out of nostalgia, but because something needs to be understood, for the record, in the relationship between those days and the way we live now ...”

“... Pat Barker​ has written about war, mostly the First World War, again and again. In her new novel, Noonday, the last book in a trilogy, she takes characters forged in the first war, in Life Class (2007) and Toby’s Room (2012), on into the second – or into the second phase of one long conflict. They are middle-aged in the London Blitz. Why the preoccupation? The men and women who lived through those wars, or died in them, wrote with devastating eloquence: what more is there to say, that Ford and Brittain and Owen and Remarque and all the other chroniclers of both conflicts haven’t said already? Shouldn’t we, out of respect, leave them the last word? The answer could be a cynical one – that Barker found an audience with her first trilogy, Regeneration, and saw no reason not to stick with it ...”

“... At the beginning of her short story ‘Jakarta’, Alice Munro describes two young women who choose a spot on a beach because it’s sheltered and because ‘they want to be out of sight of a group of women who use the beach every day. They call these women the Monicas.’ The Monicas have two or three or four children apiece; they build a temporary domestic encampment on the beach (‘diaper bags, picnic hampers, inflatable rafts and whales, toys, lotions’); and their conversation revolves around the cheapest place to buy meat, the uses of zinc ointment, soda’s superiority to baking powder ...”

“... A number of the stories in this collection cluster around the figure of K.K. Harouni, an elderly landowner in 1970s Pakistan, with a big house in Lahore and farms in the Punjabi countryside, just as Harouni himself exists at the centre of a far-reaching network of subordinates and dependants. In some of the stories he’s a remote master, viewed from the perspective of the people who work his land: when occasionally he descends on his farms, his subordinates accept that he needs to be surrounded with his ‘mechanical cocoon’ of ‘air conditioners, water heaters, refrigerators’, as if he belonged to a different species ...”

“... If you took​ only the subject matter of Michael Ondaatje’s novels into account, you would expect him to be an austere and even punishing writer. He chooses the darkest material, chronicles passages of life that would test the most resilient cheerfulness. Coming through Slaughter (1976) is loosely based on the tragic life of the jazz cornetist Buddy Bolden, who died in an asylum in New Orleans ...”