Lawrence Osborne’s novels include all the props associated with thrillers: guns, heists, bribes, spiked drinks, assumed identities, ghostly visitations and suitcases stuffed with banknotes. But the plot...
Words, too, can mean opposite things. This is a minority interest among those who want language to communicate plainly, but it’s of consummate interest to poets. In the procedural poems, you see how...
One of the inhabitants of Middle England, the title and the setting of Jonathan Coe’s last novel, part of a location that is also called ‘merrie’, ‘deep’ and...
In Hinton the non-appearance of a transcendent perspective does the book the great service of going against teleology, the sense of moving towards a predestined end that makes most historical novels so...
It’s a familiar paradox: in order to save herself, the writer needs to get away from her family; and yet when she sits down to write, the lost world of family is her best material – all those same...
The Aeneid is not all about male virtues and egos. The overall plot depends on the wrath of the goddess Juno, and room is also made for the quieter voices of aged fathers, local rustic deities and Italian...
Patricia Highsmith was able to dramatise the loss of control so shockingly because she knew how it felt. Though not herself a homicidal maniac (as far as one knows), she could imagine what it was like...
Agustín Fernández Mallo, then a Spanish physicist with one book of poetry to his name, was on holiday from his laboratory in 2004 when he was hit by a motorbike in Thailand....
Lila and Lenù. She and I. These friendships – these first, these formative friendships – are in part about adapting ourselves to our place in adult society. There is always one child who directs the...
Kindred is an act of generosity, an embodiment of the hope that one day, it will be nothing to write home about when a Black woman sits in her new house with her white husband, happily surrounded by piles...
Stone’s dozen days in Saigon were all passed in the shadow of the war. Everybody was in it, somehow, and talked about it non-stop, but the talk never went anywhere. It ran into the war and came to a...
In 1993, frustrated and unfulfilled, Emmanuel Carrère was waiting on two replies – one from Satan, the other from God. He was 35, with four novels behind him but not enough fame for...
The narrator of Denis Johnson’s The Largesse of the Sea Maiden concludes his account of dead or dying friends with a careless aside: ‘It doesn’t matter. The world keeps turning. It’s plain to...
It’s never easy to sort out what’s yours and what’s your mother’s – harder still, Yaa Gyasi’s book suggests, when the fear of enmeshment is shared. Armed with diagnostic categories, her character...
Rilke set himself subjects the way a shoemaker might, or a sculptor. Laocoön. The burghers of Calais. The thinker. The lovers. The tiny figurines and vast hands.
Death in Her Hands, like all Ottessa Moshfegh’s novels, is a mystery, as well as a portrait of a broken mind. But it’s also a hall of mirrors in which every image or event might be real, or a warped...
Sophie Mackintosh’s two novels could be classified as dystopias but they are more like hermetically sealed thought experiments. The worlds they describe are different from the one we wake up in, but...
Ursula Le Guin was able to direct a whole array of ‘what if?’ questions against the conventions of children’s fantasy. What if you don’t need heroic quests? What if keeping going and tending children...